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. Love Happens
    It's a limp romantic drama that occasionally lifts its drowsy head to attempt a wan smile, a picture that starts out being harmlessly dull and ends, somehow, in a place that feels insultingly manipulative.
  2. The Last Song
    Maybe I'm expecting too much of Cyrus. But The Last Song rests heavily on her alleged appeal, and I can't remember the last time I came across such a singularly charmless teenage performer. I hesitate to even use the word "actress."
  3. The Amityville Horror
    As a symbol of what some filmmakers and some studios think the public will buy, it's a horrific piece of work. How dare anyone put this piece of c--- in front of me. How dare anyone put it in front of YOU.
  4. Impostor
    Familiar and profoundly unoriginal.
  5. The Battle of Shaker Heights
    The nice thing about seeing so much time, money and effort go into a bland film is that it makes you appreciate truly inspired filmmaking even more.
  6. Just Go with It
    An Adam Sandler comedy, which means it bears only a superficial relationship to the customary conventions of moviemaking, and also that there's no use getting all worked up about that.
  7. Dear Wendy
    It's not merely that Dear Wendy was shot on Danish and German locations that don't look quite right; it's that almost every decision made by the production designers is wrong, or at least discordant.
  8. The Out-of-Towners
    A dismally unfunny comedy, but that's not what's depressing about it. Worse by far is the palpable desperation in Goldie Hawn's performance.
  9. The Wedding Planner
    A chaste, lively and mildly goofy romance to dispel the winter blahs.
  10. Big Momma's House
    Martin Lawrence, no Eddie Murphy, takes a reheated cross-dressing shtick and turns it into something to elate your inner fourth-grader.
  11. The Mortal Instruments: City of Bones
    This initial “Mortal Instruments” picture has the vibe of a straight-to-video release from the mid-‘90s, except with a $60 million budget and considerable special-effects expertise.
  12. The Dukes of Hazzard
    The whole thing seems so perfectly good-natured that you settle in for some harmless, silly fun. But Dukes runs out of gas early on.
  13. 54
    It's a flat, clumsy piece of filmmaking. When Phillippe and Ward are in bed, the shots are so badly matched that I believed they were having sex, just not with each other.
  14. Leap Year
    If only Leap Year were an anomaly, the kind of picture that comes along only once every four years. Instead, it's yet more evidence that romantic comedies are only getting worse.
  15. The Punisher
    If you can get past the goofy writing, there's lots of noisy action in The Punisher, but little of it is particularly exhilarating. In fact, it's more of an endurance test. If you can sit through it, you should consider yourself duly punished.
  16. The Wedding Date
    Dermot Mulroney is the movie's only genuinely romantic lead. And he's so good that he nearly carries The Wedding Date single-handedly.
  17. October Baby
    That whole aspect of October Baby creeped me out a lot more than the blood-curdling failed-abortion story did, honestly. I've seen a lot of movies where crazy and impossible things happen, and you just have to roll with them. Real life is much more frightening.
  18. Chapter 27
    There's virtually no context provided here, about Lennon or the Beatles or New York or Chapman himself. To put it another way, the film's entire context IS Chapman.
  19. Play It to the Bone
    Doesn't quite have the goods.
  20. Down to Earth
    The Weitzes haven't come up with a masterpiece in Down to Earth, but they have put their stamp on a perfectly pleasant 90-minute diversion
  21. I Love You, Beth Cooper
    Moves along, taking two steps backward into crassness for every clever or just plain sweet moment it offers. Although many of the movie's problems seem to be rooted in the script, Columbus has such a heavy touch that he sabotages nearly every scene.
  22. Masked and Anonymous
    See it in one glorious shot, grab as much from it as you can and run like hell. I say that not because I hated Masked & Anonymous, but because I loved it.
  23. Beyond Borders
    Has a TV Movie of the Week righteousness about it -- you can feel the way the filmmakers and the director are struggling to educate us, even as they must surely know, deep in their hearts, that the florid, doomed romance is the real focus of the movie.
  24. Land of the Lost
    Land of the Lost isn't a terrible movie. It's merely a perplexing one: Who is this thing for?
  25. Swordfish
    Feels like every other action thriller we've seen in the past three years, only it's more annoying -- and, in some cases, more appalling -- because it's trying so hard to distinguish itself.
  26. Das wilde Leben
    Deliciously dumb, reasonably well-made.
    • 32 Metascore
    • 70 Critic Score
    Godzilla
    The plot is about as ridiculous as you'd expect, but for the most part its absurdities are tolerable.
  28. 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.
  29. The Perfect Holiday
    There's almost no such thing as an entertaining holiday trifle anymore -- the kind of casual, cheerful little picture that you might see on a whim and end up enjoying, even beyond the breadth of your modest expectations. The Perfect Holiday is an attempt, at least, to resurrect the idea of the trifle
  30. Crime and Punishment in Suburbia
    Even dressed up in tabloid lighting and cut with jagged edits, this pulp nihilism never goes beyond daytime TV banality.
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