Salon's Scores

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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:
  1. Positive: 1,748 out of 3130
  2. Mixed: 1,003 out of 3130
  3. Negative: 379 out of 3130
3130 movie reviews
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  1. Big Man Japan
    Matsumoto isn't the first Japanese director to go all meta on the superhero tradition (consider also Takashi Miike's 2004 "Zebraman"), but this work of improbable lunacy may well max out the genre.
  2. House of Wax
    Paris Hilton is the big draw in Jaume Collet-Serra's not-really-a-remake horror-slasher thriller House of Wax, and she'd have to be: There's so little else going on in it that you find yourself waiting for her few brief scenes.
  3. Monster-in-Law
    Fonda and Sykes are made for each other, and their incessant bickering and arguing are about the only things that give Monster-in-Law any life.
    • 49 Metascore
    • 40 Critic Score
    Men in Black II
    Here's an idea: Let's just take that same gizmo-packed alien-attack buddy-flick blockbuster from the summer of '97 ... and make it dumber!
  5. Deep Impact
    Deep Impact is the work of someone crass enough, and in some essential way mad enough, to try to turn the apocalypse into a tear-jerker.
  6. Doubt
    Shanley offers no resolution to this Sharks vs. Jets conflict. For that, we have to wait for "Doubt! The Musical."
    • 46 Metascore
    • 40 Critic Score
    Smilla's Sense of Snow
    It doesn't help that Julia Ormond -- perhaps the most un-Smilla-like actress walking the planet -- is cast in the starring role. She gives a competent performance, but she looks like Nancy Drew's pert-nosed cousin who somehow got trapped while sleuthing inside a snow globe, not the prickly, androgynous warrior Smilla is meant to be.
  8. Alex & Emma
    Dull and listless from the start, partly because the leads fail to connect and partly because both the script and the direction let them down.
  9. The One I Love
    There’s nothing disgraceful about The One I Love, and if you’re just in the mood for a VOD time-waster, you could do worse. But despite the agreeable lead performances, it doesn’t quite repay your 90 lost minutes of life.
  10. Gladiator
    For all its grandeur, Gladiator is a canned experience, a film that flails around awkwardly trying to find a reason to exist, or at least a compelling story to tell.
  11. The Life of David Gale
    Becomes more and more preposterous with each scene -- it's almost like performance art.
  12. Whatever Works
    A belabored trifle that's occasionally amusing but often just bewildering.
  13. The Barbarian Invasions
    Which would all be well and good, if only Arcand's approach weren't so deliberate and stupefyingly superior.
    • 40 Metascore
    • 40 Critic Score
    Clockstoppers
    What Clockstoppers achieves in acting and decent special effects, it undermines with weak dialogue and directing. The movie isn't bad; it just makes you wish that certain scenes could be hypertimed into oblivion.
  15. Rambo
    The movie is neither cathartic nor entertaining. The action scenes (and there are many of them) feel mechanized and calculated.
  16. The Tuxedo
    Jackie Chan is thoroughly wasted in a bad suit and a witless comedy.
  17. The Golden Compass
    Whatever complex or interesting ideas might have been found in the source material have been watered down, skimmed over, mashed into nonsense or simply ignored.
  18. The Spirit
    Miller seems to have brought neither his brains nor his heart (both of which we know he's got) to this project. The style is willing. But the spirit is weak.
    • 45 Metascore
    • 40 Reviewed by
      Max Cea
    Snatched
    There are a few strong bits in Snatched — the best of them centering around Joan Cusak as a silent ex-special ops agent — and the film is well-paced. But as Hawn’s Linda should have learned, this time around Amy Schumer isn’t worth leaving the house for.
  20. Man of Steel
    Despite looking, feeling and (especially) sounding expensive – this is one of the loudest summer spectacles of recent years – Man of Steel is second-tier and third-generation Chris Nolan-flavored neo-superhero material.
  21. Double Jeopardy
    An intermittently engaging thriller.
  22. Balls of Fury
    Intended as nothing more than a here-today, gone-tomorrow zany entertainment, and at the very least, it has a good-natured, slightly raunchy spirit about it. But ultimately, it's a hollow enterprise, all ping and no pong. It doesn't bounce; it splats.
  23. Stay
    Forster and Benioff are able craftsmen who apparently thought it might be interesting to seal themselves into a narrative box with no way out. Sorry about that, guys -- I hope it was a growth experience.
  24. Beowulf
    Ambitious, overbearing and hollow; it goes overboard to impress, yet it never feels truly inventive or imaginative. At best, it achieves a level of clumsy camp.
  25. Sleepwalking
    There's loads of suffering in Sleepwalking, piled on until the picture almost becomes an unintentional comedy.
  26. In the Cut
    Isn't just a movie about decapitation; it's a decapitated movie. It has no idea where its head is at.
  27. Full Frontal
    Aside from a few well-shaped moments from some of the actors, the editing is about the only thing that keeps your mind occupied in Full Frontal -- and any good editor will tell you that's a problem.
  28. Happy Endings
    The kind of self-conscious puzzle picture in which characters behave in ways that serve the plot but in no way resemble things that actual human beings would be likely to do.
  29. Dudley Do-Right
    Enough flickers of Jay Ward's gloriously subversive sensibility to make it watchable, but it also has enough lengthy stretches of pure triteness to make it easy to skip altogether.
    • 61 Metascore
    • 40 Critic Score
    The Count of Monte Cristo
    To say the film doesn't quite recapture the thrill of the novel is like saying that soda pop doesn't really have the same kick as heroin.
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