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 1.2 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. An earnest and moving documentary made for and about tormented preteens and teenagers.
  2. This yarn about an innocent-looking but desperately horny teenage girl might not have that much commercial upside, but its bittersweet, faintly depressed brand of Nordic humor is definitely enjoyable.
  3. 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.
  4. It offers some of the best Asian martial-arts choreography of recent years and an electric, claustrophobic puzzle-palace atmosphere that'll leave you wrung out and buzzed.
  5. The Hunger Games has some cool moments here and there, and is never entirely dreadful. Lawrence is both radiant and triumphant. They haven't screwed it up badly enough to kill it, although they've tried.
  6. Considered as a whole it's a wonderful and hilarious phenomenon, most of it is executed to Dadaist perfection.
  7. People will either love Detachment or hate it, and either way it provides powerful testimony to the unrivaled passion and undiminished craft of director Kaye, whose notoriety in the film industry is matched by his near-total invisibility to the general public.
  8. Footnote has two of the best performances I've seen in world cinema over the past year: One from Shlomo Bar Aba (apparently best known in Israel as a stand-up comic and stage actor), playing the aging, bitter philologist Eliezer Shkolnik, and the other from Lior Ashkenazi, one of the country's best known movie stars, as his son and rival, Uriel.
  9. What will likely draw butts into theaters for Friends with Kids isn't one star in particular, but the sum of its comic pieces.
    • 49 Metascore
    • 60 Critic Score
    As it stands, the picture's primary subject is its style; the promotional materials give as much space to the trickery ("a tension-filled, real time journey, experienced in a single uninterrupted shot") as they do to rising leading lady Olsen.
  10. If you're willing to suspend not just disbelief but also all considerations of logic and intelligence and narrative coherence, it's also a rip-roaring, fun adventure, fatefully balanced between high camp and boyish seriousness at almost every second.
    • 87 Metascore
    • 80 Critic Score
    An edge-of-your-seat emotional roller-coaster ride about ordinary people in a nondescript neighborhood, it's sometimes terrifying, often heart-rending and completely worth it.
  11. An impressive but exceptionally disturbing feature debut from Australian director Justin Kurzel that pushes the new wave of Aussie crime films up a notch.
  12. Any way you slice it, it's a brave and brilliant act of defiance.
  13. Undefeated is a genuine crowd-pleaser, a rousing and inspirational flowers-in-the-junkyard fable of hope and possibility in grim circumstances.
  14. You either like this kind of ambitious, brave, borderless experiment or you don't, and I think it's absolutely magical and tragic.
  15. A dazzling and delightful work of modernist animation, a classic movie romance and a hip-swinging, finger-popping tale of musical revolution, Chico & Rita is the first big serendipitous surprise of 2012.
  16. This movie's too small and too dark to have gotten Harrelson into the overcrowded best-actor race, but it's without question one of the year's great performances.
  17. I left the theater oddly exhilarated - to see daylight again was so great! - and, odder still, eager to see it again (although perhaps not today). Tarr's films can be arduous, even wrenching, but they're not boring. Watching them is something like visiting the world's most fantastic art museum and taking an ice-cold shower, both at the same time.
  18. It's a tantalizing case study that suggests ordinary people still have the power to steer a course between faceless bureaucracies and greedy capitalists, but only just - and only if they can find a way to overcome their differences and work together.
  19. There's no disputing the ingenuity and even the brilliance of this mind-bending mashup, which begins as a gritty recession-era marriage drama - the opening scene features a couple arguing about whether they have the money to get the Jacuzzi fixed - and then descends into ominous violence and finally total insanity.
  20. In the case of French actress and director Valérie Donzelli's striking and imaginative film Declaration of War, the autobiographical element is so strong that the movie's virtually a docudrama – but a dazzlingly strange docudrama with musical numbers, choreographed interludes and prodigious cinematic verve.
  21. Supremely economical, pulse-pounding and undeniably bewildering thriller, which plays like a blend of mid-'90s Hong Kong action flick and mid-'70s European crime drama. Arguably this movie amounts to less than the sum of its parts - but hot damn, those are some parts.
  22. Terrifically choreographed, violent and amoral, but never wantonly cruel, Miss Bala is a knockout.
  23. Most famously, Belafonte ignited immense controversy both within and without the black community by repeatedly suggesting that Colin Powell and Condoleezza Rice were the "house slaves" of the George W. Bush administration.
  24. It's exactly the sort of movie that Hollywood specializes in, the kind which seems on paper as if it ought to be entertaining, but winds up a massive and chaotic drag.
  25. This is a wonderful, passionate, well-nigh unforgettable adaptation of a great novel about the horrors of love, and the wonderful fact that at least some of us live through it and come back for more.
  26. You don't have to know the first thing about modern dance to be transported to an alternate state of consciousness by Pina, which is utterly free of Wenders' cloying sentimentality (perhaps because it's an elegy for a dead friend) and might be the first of his films I've loved all the way through since his 1987 masterpiece, "Wings of Desire."
  27. If the narrative of Pariah is predictable and its delivery system rather after-school special, the characters and setting are unforgettable and Lee's coming-of-age story feels both true and moving.
  28. García, previously the director of "Mother and Child," "Passengers" and numerous TV episodes (and the son of Nobel laureate Gabriel García Márquez), never feels entirely comfortable with the period or location, but for all its limitations Albert Nobbs has a puzzling undertow, and gets more involving the longer you stick with it.

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