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. Gabrielle
    A haunting and riveting work, unlike anything else you can see at the movies and as such an explicit challenge to the unambitious, anesthetic character of most contemporary cinema. But is it easy, or delightful, or fun? It is not.
  2. Pirates of the Caribbean: Dead Man's Chest
    Johnny Depp and Keira Knightley manage to sparkle, but this overstuffed sequel is no treasure.
  3. A Scanner Darkly
    There's no other filmmaker, living or dead, who could produce a futuristic sci-fi nightmare, a hipster comedy, a haunting film noir and a cartoon, all in the same movie.
  4. Heading South
    Heading South is a seemingly straightforward and simple picture that's really defiantly complex, sexually, politically and emotionally.
  5. The Devil Wears Prada
    Probably supposed to be half fashion fantasy, half satire of the fashion world. What a drag that it's not enough of either.
  6. The Blood of My Brother
    Much of the picture is exciting and terrifying.
  7. Superman Returns
    Superman, born in 1938, is still very much alive in 2006. The Man of Steel has so skillfully bent the bars of our imagination that he seems real to us. And in a sense, he is.
  8. The Motel
    There were half a dozen occasions, maybe more, when I roared out loud with laughter. This just may be a filmmaker with great things in him; this one's pretty damn good.
  9. Who Killed the Electric Car?
    By the end of Who Killed the Electric Car? you'll be worked into a lather one way or another. Paine crams in more theories, ideas and arguments than the movie can easily hold, but that's OK with me.
  10. Wassup Rockers
    Shifting his focus away from white kids seems to have done Clark good, because Wassup Rockers is the least sensationalistic, and hence the least moralistic, of his films. It's an enjoyable if haphazard picaresque.
  11. Click
    I don't think any of it really hangs together as anything resembling drama, or that Michael is ever a remotely likable character, before or after his day of reckoning. But Adam Sandler didn't get where he is today by making movies for me and Roger Ebert to like.
  12. The Hidden Blade
    It's a sensitive, slow-moving 19th century samurai drama that will appeal to that tiny cadre of filmgoers who savor the classic Japanese films of Mizoguchi and Inagaki.
  13. The Road to Guantanamo
    At the risk of retreating into Waffle House aesthetic relativism, I think the unsettling power of Michael Winterbottom and Mat Whitecross' film stems from its contradictions.
  14. Leonard Cohen: I'm Your Man
    This is Lunson's debut picture and she's smart enough to keep the whole affair very simple.
  15. The Fast and the Furious: Tokyo Drift
    The problem with contemporary Hollywood isn't that so many of the movies it's churning out are based on formula; it's that so many directors take perfectly good formulas and wreck them with bad filmmaking.
  16. The Lake House
    The Lake House is an example of the way bad movies can sometimes be more interesting than merely mediocre, workmanlike ones, and of the way they sometimes compel us even against our better judgment.
  17. Lower City
    Despite the lurid content, this is a beautifully made film that reaches for moral seriousness and resists facile judgments.
  18. Only Human
    A movie that is never elegant but is often hysterically funny, and maintains a rabbit-on-speed pace that Hollywood comedy long ago abandoned.
  19. Wordplay
    At its best when Creadon is burrowing deep into the world of the puzzles themselves, particularly when he sits down with puzzle constructor extraordinaire Merl Reagle.
  20. A/k/a Tommy Chong
    This is a small film, but it moved me and made me angry. Both reactions, in this context, are worthwhile.
  21. Cars
    Cars is an elaborate concoction all right. But it feels soldered together from a scrap heap of tired ideas.
  22. A Prairie Home Companion
    It's by no means the greatest Altman, and not even a great Altman. And yet, even though it was written and conceived by Garrison Keillor -- as a fanciful fiction that draws on elements of his popular radio show -- it is somehow pure Altman.
  23. Agnes and His Brothers
    Roehler mixes cheap sex humor, existential darkness, buffoonish satire and profound tenderness in almost classic proportions. Maybe this is too uneven to be a masterpiece, but it's somewhere close.
  24. Autumn
    Autumn is actually pretty damn good. It's a defiantly odd work, a movie-movie set more in the crime-film Paris of Jean-Pierre Melville or Jacques Becker or early Godard than in the real 21st century city.
  25. Crossing the Bridge: The Sound of Istanbul
    Whatever you think you know about Turkey, Crossing the Bridge will change your mind. With a dynamite album of music from the film in simultaneous release, I smell a "Buena Vista"-style crossover hit.
  26. The Break-Up
    The Break-Up doesn't know whether it wants to be a facile, enjoyable date movie or an unnerving examination of the dark, pockmarked underbelly of everything we expect out of romantic relationships, and it settles for a deeply unsatisfying nowheresville.
  27. The Puffy Chair
    While it would be accurate to call the film a comedy, the Duplasses are trying to wrestle something closer to Chekhov than to farce out of the lives of these semi-likable, highly recognizable people.
  28. X-Men: The Last Stand
    Only half a mess -- and even with all its flaws, it's an enjoyable diversion that shows both respect and affection for the formidable legacy of the "X-Men" comics.
  29. The Da Vinci Code
    Disappointingly tame.
  30. Poseidon
    An acceptably entertaining picture. At just 100 minutes long, it feels tight and trim, and unlike so many contemporary action pictures, it boasts only one ending, instead of three false ones. What's more, it's just as dumb as the original.
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