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. Infernal Affairs
    One of the truest American gangster films of all time.
  2. The Forgotten
    Begins as a perfectly reasonable thriller and ends up rather an inane one.
  3. The Motorcycle Diaries
    There is a balancing act at work here that sometimes makes the film seem too careful, but I found it a lovely and supremely moving experience, a haunting symphony in a minor key if not a knock-your-socks-off masterpiece.
  4. Anatomy of Hell
    The surprise of Anatomy of Hell is that Siffredi's character is ultimately more vulnerable than the woman
  5. A Dirty Shame
    With big Hollywood movies getting glossier and more mechanical, and indie movies increasingly mistaking drabness for seriousness, we need Waters' sub-B-movie aesthetic more now than ever.
  6. Mr 3000
    A superb mainstream entertainment in the purest sense of the term: It's a picture made to please a wide audience without ever pandering to it.
  7. Wimbledon
    Slick, satisfying entertainment, as is the chemistry of Dunst and Bettany.
  8. Sky Captain and the World of Tomorrow
    So captivating to look at that you can almost forget there's virtually nothing to it.
  9. Head in the Clouds
    It's fun, but it isn't believable for a minute.
  10. Silver City
    The satire doesn't go far enough.
  11. Goodbye, Dragon Inn
    Tsai Ming-Liang always makes you feel that there's a world of life beyond his movies -- a world populated by ghosts that are as real as we are.
  12. Incident at Loch Ness
    Something of a gigantic goof, perpetrated by Penn and Herzog -- and the goofees included much of the entertainment media, people in the film business, the Scottish authorities and (I think) even some of the film's cast.
  13. Cellular
    Basinger's debasement in the early part of the film is unpleasant to watch, and it's an unsettling bump in the context of the entertaining sheen of the rest of the picture. So much of Cellular is right on the button. If only it hadn't gotten its wires crossed.
  14. Reconstruction
    Reconstruction has a poetic sensibility, as well as an old-fashioned Continental appetite for romance, that makes it distinctive.
  15. When Will I Be Loved
    Toback has hit a new low. The candor and shrugging good humor Toback, at his best, used to show has been replaced by a repellent slurpiness: The whole picture seems coated with a slimy sheen of drool.
  16. Wicker Park
    Takes plenty of twists and turns, each so implausible and silly that you have no interest whatsoever in finding out what the next one will be. The director, Paul McGuigan, is fond of fancy split-screen effects and stylish, snappy cutting, but he can't tell a story to save his life.
  17. Vanity Fair
    There may be filmmakers whose own vision is vast enough to take on Thackeray's, but Mira Nair isn't one of them. Her new film of Vanity Fair is a disaster. Scene by scene and moment to moment, it's a woeful misreading of the book.
  18. The Brown Bunny
    In "Buffalo 66," Gallo was an unfunny prankster. In The Brown Bunny, wearing his heart on his sleeve, he's a real filmmaker.
  19. Hero
    One of the most ravishing spectacles the movies have given us.
  20. Suspect Zero
    Suspect Zero is loaded with cheap thrills for the expensively educated.
  21. Bright Young Things
    in its best moments, Bright Young Things is as lithe and as wicked as its source material. Depending on how much of a Waugh purist you are, its flaws may trouble you as you're watching it. But afterward, they might not matter so much.
  22. End of the Century
    While End of the Century feels a bit straggly toward the end (the rise of the Ramones is exhilarating; their slow, unfair demise is a downer), and its chronology is sometimes a little vague, the movie captures the spirit of both the band and the era they helped shape.
  23. We Don't Live Here Anymore
    May be very much about feelings, but it's made with a drab, juiceless, tasteful efficiency that distances us from the characters instead of drawing us closer to them.
  24. Collateral
    If you boil the psychology of Collateral down to its essence, what you get, mostly, is Vincent badgering Max for not having enough chutzpah -- in essence, for not being enough of a tough guy.
  25. Little Black Book
    The movie can't distinguish between what's likable and human and funny and what's simply repellent. In that respect, it's just as indiscriminate as the reality TV it shakes its finger at.
  26. Last Life in the Universe
    Much of the pleasure of the movie is the way its mood lingers with you afterward.
  27. Open Water
    Kentis and Lau succeed in doing what all filmmakers worth their salt strive to do: They make us care about their characters.
  28. Outfoxed: Rupert Murdoch's War on Journalism
    When you watch Greenwald's barrage of pirated Fox News footage -- his filmmaking techniques are clearly testing the outer limits of the "fair use" doctrine, and may yet land him in court -- it's an overwhelming experience well beyond the hoot-inducing moments.
  29. The Manchurian Candidate
    Toothless, gutless, one-note political movies like Jonathan Demme's The Manchurian Candidate, a picture that purports to have a galvanizing, liberal-minded theme (big business is taking over our country and our lives) but is really just ploddingly pedestrian.
  30. The Village
    The real mystery at the heart of M. Night Shyamalan's latest: How does he persuade actors like Sigourney Weaver and Adrien Brody to act in his supremely lame movies?
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