Salon's Scores

For 3,130 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Wolf of Wall Street
Lowest review score: 0 Event Horizon
Score distribution:
3130 movie reviews
  1. There's enough sweetness, and enough just-under-the-surface intelligence, in The Education of Charlie Banks to suggest that Durst may have a future as a filmmaker.
  2. The most sterile of bodice-rippers, a genteel soap opera in which the sex and intrigue are so muted, so tasteful, that they practically blow off the screen in a scattering of dust.
  3. The movie never makes much of a case for its own existence; it's a mediocre western clumsily welded to a mediocre alien shoot-'em-up, and if you allow yourself to think about its treatment of history for as long as one second, you'll feel insulted.
  4. Sometimes stylish flashiness can be fun, and the movie does have a terrific, bleached-out, ice-blue look. But anyone who cares about what actors do has a right to be distrustful of a director who puts more emphasis on the look of his movie than on the performances.
  5. Hoary epic of British Empire valor and cowardice, remade for seventh time, remains rot, old boy.
  6. An uninspired, recycled Mafia gags caper.
  7. The difference is that Michael Caine delivered the impossible; Jude Law can't.
  8. Lacks any layers beyond its own amiable inconsequentiality. It needs the spark of the distinctively American slapstick craziness that has distinguished Frye's previous work.
  9. Cassandra's Dream, an earnest meditation on greed, desire, murder and class struggle, is one of Woody Allen's funniest movies in years -- except Allen doesn't know it.
  10. My eyes never left the screen and my attention never wandered; in a restricted, technical sense of the term, Kidnapped is a masterpiece. But I make no claims for its moral value or for any cathartic or redemptive qualities.
  11. The super-duper whiteness of Ashton Kutcher is funny. Just not funny enough.
  12. It's not merely that these subjects have already been satirized to the point of ultimate tedium; more importantly, Simone just isn't very funny.
    • 49 Metascore
    • 60 Critic Score
    Has the same relationship to the dark emotions it glosses that Disneyland's Jungleboat Cruise ride has to an actual excursion down the Amazon.
  13. Range has a marvelous feel for the clichés and conventions of TV-news documentary, and the tone of mournful elegy he strikes here is both convincing and -- believe me, I'm shocked to be writing this -- moving.
  14. Even if you think you know where Lucky You is headed, there's something pleasurable about watching it unfold, maybe chiefly because Hanson isn't trying too hard.
  15. Bleach out the colors, backdate the wardrobes, insert Gary Cooper and Rosalind Russell and you've got one of Frank Capra's lesser films.
  16. With The Good German, Soderbergh -- generally a terrific and creative filmmaker -- apes a style, and a way of seeing, that he clearly doesn't understand. It feels like a hit to the stomach.
  17. 2012 is totally, certifiably nuts, without being quite as off-the-wall kitschy as Emmerich's last special-effects extravabanzoo, "10,000 BC."
    • 49 Metascore
    • 50 Critic Score
    There's no buildup, just emotional peak after emotional peak.
  18. Hu, a Chinese-American immigrant who made a mid-career switch from business to filmmaking, approaches these characters with genuine passion and compassion, and her evident talent shines through the timeworn material. Acting by all three principals is tremendous.
  19. For me, Franken is funniest at his least guarded and his most incorrect, and as he inches toward becoming a politician himself, we get less and less of that.
    • 49 Metascore
    • 40 Critic Score
    Best described as not too bad. Much of the time, though, it's pretty terrible.
  20. That's the culture we live in, where the once-proscribed Pleasure Principle has become iron law and where the recycled, bloated, fish-belly emptiness of something like TRON: Legacy carries boredom to extravagant new heights.
  21. Isn't much more than a student film made by a talented amateur who's in over his head. Burns has a decent eye and a breezy sense of pace, and he'll make better movies if he remembers where he came from.
  22. An offshoot of a popular computer game, is really all about inducing visual awe. And for the first few minutes, it does.
  23. I'm delighted to tell you that the new Thing was made by people who understand what the horror audience wants and don't treat it like a bunch of brain-dead children. Mirabile freakin' dictu.
  24. This movie isn’t terrible enough to derail the “Sherlock Holmes” star’s upward trajectory toward pop-culture domination, but Cumberbatch’s subtle and intriguing performance as the inscrutable Aussie loner behind WikiLeaks is surrounded by a plodding and minor melodrama that’s ludicrously ill suited to the material.
  25. It's an intriguingly murky B-movie that should satisfy genre buffs.
  26. The picture is just a catalog of strained camera moves and preprogrammed gags, with no wit or style.
  27. It's made with an accurate and loving, but also wary and squinty-eyed, view of the South. If only the movie hung together better overall.

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