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 1.2 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:
  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. Unknown
    A stylish and muscular thriller with some nifty twists and turns, a wicked sense of humor, several terrific performances and not one or even two but three of the best car chases in recent action-flick history.
  2. I Am Number Four
    It was boring and silly but not atrociously bad. No, that's much too glowing; allow me to back up and rephrase. It is atrociously bad, basically.
  3. Cedar Rapids
    Often hilarious, although I found it so amped-up and overly broad that I was exhausted before the movie was over.
  4. 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.
  5. Carancho
    Trapero makes naturalistic films with plenty of sex, violence and dark humor; in Carancho you can see the influence of 1950s film noir, the ballsy renegades of 1970s American cinema (especially early Martin Scorsese) and a little touch of the Coen brothers.
  6. The Eagle
    Bastardizes the source material to no good purpose, ending up with a strained combination of rah-rah, boy-bonding adventure and p.c. cross-cultural exploration.
  7. How I Ended This Summer
    Combines memorable images of the gorgeous, rugged wilderness, meticulous sound design that emphasizes the characters' isolation, a dash of dark wit and a dose of madness.
  8. Ip Man 2
    Nearly as enjoyable as the original. Its not-so-secret weapon is the poised, calm performance of Yen, who somehow manages to play Ip as both character and archetype.
  9. Sanctum
    Whatever his faults as a filmmaker may be, Cameron would never make an adventure flick that felt this bland and generic.
  10. The Other Woman
    Inside of five minutes I felt an urgent, blinding hatred for almost all its grotesquely overprivileged characters.
    • 39 Metascore
    • 40 Critic Score
    From Prada to Nada
    Sells itself as a traditional Hollywood riches-to-rags comedy -- overdressed brat gets taken down a peg, falls in love with a hunky prole, and learns that love is more important than shoes...So why is Hollywood returning the favor by making such dreadful movies for Latino audiences?
  12. Kaboom
    It's by far the funniest and warmest movie Araki has ever made, with much less juvenile angst and much more command of his craft.
  13. When We Leave
    Aladag's point, I think, is that no matter how righteous we may feel about this kind of zero-sum cultural collision, for the human beings involved it often results in unbearable tragedy.
  14. The Rite
    If it's a nonsensical patchwork quilt, it's mostly a watchable one.
  15. Applause
    Applause may present as gritty European realism, but the struggle inside Thea is almost theological in scale, and worthy of Milton or Kierkegaard.
  16. The Dilemma
    I'm not sure whether Howard and screenwriter Allan Loeb are to be commended for aspiring to something odd and original, or condemned for a result that's so messy and miscellaneous.
  17. The Company Men
    A lot of this is compelling, after its didactic and heavily thematic fashion, but if you strip most of it away, along with Roger Deakins' handsome cinematography, you're left with the conflict between Jack and Bobby and something like "Shop Class as Soulcraft: The Movie."
  18. No Strings Attached
    But when people have sex in a movie -- that wasn't, you know, made in Hungary and meant to convince you that life is meaningless -- isn't it a good idea to make it seem kind of hot? Because on that score, No Strings Attached is a near-total failure.
  19. A Somewhat Gentle Man
    A pitch-perfect blend of darkness and sweetness, built around a masterful performance by a great actor.
  20. The Green Hornet
    Entirely watchable and often pretty fun, in a mishmashed, patchy kind of way.
  21. If I Want to Whistle, I Whistle
    Offers an introduction to the lean-and-mean, social-realist Romanian storytelling style that's built around a charismatic young actor and a familiar genre.
  22. Season of the Witch
    Off the top of my head, I'm guessing that Season of the Witch claims a place in the top five all-time bizarre and pointless homages to art cinema.
  23. Blue Valentine
    An intimate, gorgeous and wrenching portrait of a working-class marriage in what may be a state of terminal decay.
  24. Hadewijch
    Bruno Dumont's Hadewijch is one of two small-release art films this season that deliver nuanced and fascinating portraits of faith.
  25. Somewhere
    A fascinating, mature, beautifully crafted work of art, from a director who continues to surprise us. Sofia Coppola has absorbed the Italian avant-garde more completely than her father ever did, and has made a film about celebrity in the vein of Antonioni and Bertolucci, a film about Hollywood in which she turns her back on it, possibly forever.
  26. True Grit
    A winning western with just a few dark eddies beneath the surface, one that features a star-making lead performance and some spectacular photography, but falls just short of being great.
  27. Little Fockers
    They kill me, these guys. No, seriously. If they make any more of these movies, they might as well kill me.
  28. TRON: Legacy
    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.
  29. How Do You Know
    In essence, the movie is an ungainly but irresistible romantic-triangle comedy built around Rudd, Reese Witherspoon and Owen Wilson, with Nicholson rambling around its periphery like a demonic bear, part comic relief and part distraction.
  30. Due Date
    An oddly listless and downbeat affair, setting these two beloved eccentrics adrift in a road movie that's rarely funny enough to connect as absurdist comedy and rarely compelling enough to work as recession-era male-bonding melodrama.
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