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 1.4 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. Mad City
    It has, at times, a loopy, edgy humor and moments of genuinely affecting pathos. But somehow the combination doesn't add up to anything.
  2. Pain & Gain
    Michael Bay sends a clear message to those of us who've been making fun of him: He's been in on the joke the whole time.
  3. Crazy in Alabama
    Disappoints with its simplistic, hollow narrative and characters.
  4. The Singing Detective
    Gordon's film is an art-house curio, visually ugly and emotionally and narratively dissonant. Its cheapness and poverty of imagination consistently undermines its ambitions and reduces its complexity to by-the-numbers Freudianism.
  5. The Bone Collector
    There's only one good reason to see The Bone Collector, and her name is Angelina Jolie.
  6. Bully
    If you stick with Bully through its seemingly endless repetition of themes and its hurl-inducing hand-held camerawork, it does build a crude, indefinable power.
  7. Mona Lisa Smile
    In terms of the gap between the movie it's trying to be and the movie it actually is, Mona Lisa Smile is in many ways indefensible. Yet for all its problems, it's satisfyingly movielike. The minutes drift by pleasurably and mindlessly.
    • 45 Metascore
    • 50 Critic Score
    Evita
    Lloyd Webber is everything loud, dumb and tiresome, and everything loud, dumb and tiresome in Evita is him.
  9. Evening
    Evening feels like one of those devil's-candy productions that aim to bring artistry to a large audience, specifically a large audience of adult women who don't often go to the movies. Even considering it in that light, I found it miscalculated and overcooked.
  10. Factory Girl
    If the filmmaking is in some ways awkward and elementary, Hickenlooper's attitude toward his subject is more complex, and more admirable.
  11. Pretty Persuasion
    If the resulting film doesn't work equally well at all levels, Wood (who starred in "Thirteen") gives an astonishing performance that pushes it most of the way there.
  12. Whatever Works
    A belabored trifle that's occasionally amusing but often just bewildering.
  13. Extraordinary Measures
    Isn't emotionally manipulative but simply dull.
    • 45 Metascore
    • 50 Critic Score
    Proof of Life
    Everything about Proof of Life is intriguing and a little off.
  15. The Sum of All Fears
    Isn't a serious attempt to deal with our vulnerability to terrorism, or to address how established channels of power can bring us to the brink. It's the same damn Tom Clancy picture that's been churned out since "The Hunt for Red October," as humorless and gray and dour as its predecessors.
  16. The Weight of Water
    It's an intelligently made (and beautifully edited) picture that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the Hollywood pipeline without a hitch.
  17. How to Deal
    Janney's role is smaller than Moore's, but it's hardly insignificant. Moore has youth on her side, and youth is timelessly appealing. But Janney is the bigger, more memorable presence, and she's much more fun to watch.
  18. Love Object
    By the end of Love Object a dorky loner who wants a rubber sex doll at his beck and call seems a lot less objectionable than a director who wants a talented flesh-and-blood actress at his.
  19. What the Bleep!?: Down the Rabbit Hole
    I'd have no problem with the element of rampant, half-wacky speculation at the outer edges of physics in these movies if they came labeled as such.
  20. The Invasion
    The problem with Hirschbiegel's ("Das Experiment," "Downfall") convoluted, car-crash-laden Invasion is that it doesn't know what symbolism it wants to grasp.
  21. Colombiana
    A movie so addicted to the crack pipe of delirious cinematic badness that it has real potential as a camp classic.
  22. Fantastic Four: Rise of the Silver Surfer
    More ambitious than its predecessor. It's also more cluttered and less fleet: The light, pleasingly casual quality of the first picture has evolved into something forced and metallic.
  23. The Twilight Saga: Breaking Dawn - Part 1
    To my taste, savvy Hollywood veteran Bill Condon debuts as director of the two-part "Twilight" conclusion in satisfying fashion, delivering a voluptuous if often inert spectacle that splits the difference between high camp and decadent romance.
  24. Get Rich or Die Tryin'
    This isn't Sheridan's most complex or richest picture, but there's lots of life to it: This is an unapologetically glossy pop product, powered by a strong, old-fashioned sense of B-movie melodrama.
  25. Firewall
    There's just not enough of Forster, who has a small role as Ford's work colleague and confidant. ..Sometimes star quality shines out from the corners of a movie, and not from the center.
  26. Mr. Brooks
    Beneath its drab veil of self-seriousness, Mr. Brooks is nothing but just plain silly.
  27. The Deep End of the Ocean
    So finely crafted, so alive with wonderful acting and an extraordinary commitment to realism that most audiences will be happy to surrender themselves to its improbable ride.
  28. Maid in Manhattan
    Everything about it, except the valiantly lifelike Lopez, feels stiff and robotic and mindlessly crowd-pleasing, as if it were a comedy made by a committee instead of a human being.
  29. Life as a House
    Forget about cancer -- it's weepy movies like this that are the real scourge.
  30. American Dreamz
    The jokes in American Dreamz whiz by with speed and grace, and Weitz maintains control of the material every minute.
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