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. Pixels
    For a movie that’s supposedly about delivering weightless, uncomplicated fun, Pixels is an overwhelmingly sad experience.
  2. Tangerine
    This is a gorgeous, timely and possibly profound human comedy, and if there’s no disentangling the medium from the message that’s because both are powerful and ambiguous.
  3. Ant-Man
    A discombobulated summer movie that’s kind of fun but doesn’t have nearly enough story to fill up two hours.
  4. Felt
    In its own strange way, the tiny, mysterious and occasionally terrifying indie film Felt captures the confusion of this moment in gender relations, and especially the confusion around the term “rape culture.”
  5. Irrational Man
    Let’s give Allen full credit, by the way, for casting Posey as this wounded, sexy and emotionally rich middle-aged woman, a character enormously more interesting than Jill.
  6. Trainwreck
    Trainwreck is not very good, but Schumer is frequently amazing in it. Officially, her fans will not be disappointed; not far below the surface, it’s a bummer.
  7. Güeros
    It’s a gorgeous sound-and-vision journey through a mystical or mythical space that has echoes of the 1960s Paris of Godard and Truffaut and the 1980s New York of Jim Jarmusch.
  8. Boulevard
    If anything, Boulevard is the apotheosis of Williams’ later career, not an anomaly. I wish I could tell you it was a better and more satisfying film, but even its odd, strangled and almost antique quality – it plays out like a well-intentioned Sundance drama from about 1986 – feels curiously appropriate.
  9. Cartel Land
    If the ambiguity of these stories may frustrate some viewers – we long to be clearly told which of these people are good, if any, and which bad – that is the ambiguity of the world, the ambiguity addressed by Heineman’s Michoacán friend with the bandana and the AK-47.
  10. Amy
    Kapadia is a London-born filmmaker who approached Winehouse’s life, as he did that of Brazilian racing legend Ayrton Senna in his thrilling 2011 “Senna,” as a dramatic story with numerous twists and turns and a magnificent and tragic figure at its center.
  11. Magic Mike XXL
    This isn’t a perfect movie, but it might be the perfect summer movie for 2015.
  12. Terminator Genisys
    The ultra-tangled plotline of Terminator Genisys makes the rhythm of the action beats especially weird; we see the entire world nuked into rubble by the machine overlords really early in the movie, which makes it hard to get excited about a few buildings falling down later on.
  13. Big Game
    It’s entirely ludicrous but highly enjoyable.
  14. Ted 2
    In its better, non-jizz-related moments, Ted 2 is a loosey-goosey stoner road trip with an irrelevant, appealing blend of innocence and sweetness: John and Sam doing a “Walk Like an Egyptian” dance number in the law library, for no particular reason, or the “Law & Order” theme-song lyrics, a bit of brilliant standup material stuck in the middle of a movie.
  15. The Overnight
    It takes discipline in this age of bloat to bring your movie in under 80 minutes, closing credits included, and still make the audience feel we’ve been taken on a genuine journey with these people, a few big laughs and jagged left turns included.
  16. Inside Out
    It’s a lovely film that requires a little patience and a friendly disposition, and may be too low-impact to thrive amid a summer of grotesquely overengineered sequels.
  17. The Yes Men Are Revolting
    The great strength and great weakness of the Yes Men, not to put too fine a point on it, is that they’re a couple of dorks. Their props, costumes and supporting materials are invariably crude – but they are sincere and unafraid, or at least unafraid enough to brazen it out.
  18. Jurassic World
    Jurassic World unquestionably “delivers.” It feels like a hit; it offers a professionally crafted blend of blandness, predictability, watered-down cultural commentary and manufactured excitement.
  19. Spy
    McCarthy has much more to discover about herself as an actor and an avatar and a cultural signifier, and I hope she doesn’t get trapped by one role, one genre or one franchise. But her campaign of conquest is going well.
  20. Love & Mercy
    In telling the story of one damaged suburban genius and his unlikely rebirth, Love & Mercy captures the vanished possibilities of 1960s pop music, the fecklessness of the California dream and its decay into tragedy and madness, and other things less easy to describe or define.
  21. A Pigeon Sat on a Branch Reflecting on Existence
    Maybe if Wes Anderson and Lars von Trier tried to write a sitcom together, the result would be something like A Pigeon Sat on a Branch, which essentially consists of a series of comic sketches whose gags are often revealed in their final seconds.
  22. Entourage
    Did this overstuffed quality of Entourage, its KFC Double Down too-much-is-not-enough-ness, ultimately work on me? Absolutely not.
  23. Results
    After its own unexpected and light-hearted fashion, Results is as subversive as Bujalski’s other films. Yes, I called it a rom-com, and that’s accurate enough, but it’s a love story full of twists and turns, one that tempts us toward incorrect conclusions and deliberately avoids revealing its true heart.
  24. San Andreas
    Considered as pure spectacle, San Andreas is gripping and effective.
  25. Heaven Knows What
    There’s an honesty and ferocity to Heaven Knows What, a refusal to flinch from depicting the marginalized and despised underbelly of a caste-divided city.
  26. Tomorrowland
    The wonder of Tomorrowland – and with all its flaws and its hidebound Disney formula, it really is wonderful – is that Bird’s tale of nostalgia for the lost future manages to recapture some of that original, optimistic meaning without losing sight of the newer and darker one.
  27. Far from the Madding Crowd
    He (Vinterberg) has accomplished something that is both extremely simple and extremely difficult: This is a gorgeous literary adaptation true to its period and its source material in almost every respect, largely shot in the “Hardy country” along the south coast of England. It’s also a film that feels charged with life and hunger and romantic-erotic energy.
  28. Avengers: Age of Ultron
    I enjoyed Age of Ultron more than its predecessor, despite the fact that it’s almost exactly the same thing. This was probably a result of adjusting my expectations: I wasn’t sitting there waiting for Whedon to revolutionize the genre, or to turn an overdetermined comic-book movie into a Noel Coward comedy. He delivers a clean and capable entertainment, with a handful of distinctive flourishes stuck to the margins.
  29. Kurt Cobain: Montage of Heck
    A masterful and often deeply moving portrait of a volatile American genius, a portrait that goes far beyond one man, one family and one rain-sodden small town. It depicts the society that nurtured and fed that genius, and that made his unlikely creative explosion possible, as being the same environment that poisoned him — and suggests that the rise and fall were inextricably connected.
  30. The Water Diviner
    I have to assume that Russell Crowe and Warner Bros. did not deliberately set out to insult and anger the Armenian diaspora and its friends around the world, or to participate in covering up a monumental 20th-century crime that shaped the world we live in and remains swathed in too much historical shadow. They disgraced themselves by making this movie the way they did, and then redoubled the disgrace by releasing it this week.
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