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. The picture is clever and vivacious -- at times, like the first "Shrek," it seems a bit taken with its own precociousness. But its moments of sheer inventiveness can still catch you off-guard, and some of them are wittily poetic.
  2. Troy isn't so much a simplified retelling of "The Iliad" as a re-imagined version of it, told wholly without imagination.
  3. Although these vignettes are unified visually -- they're all in black-and-white and they all have the same gorgeous, silky visual texture -- they were shot by several different cinematographers.
  4. It's an impressive, intelligent, compact piece of filmmaking...But Téchiné might be one of those directors whose work is best appreciated by critics and other filmmakers.
  5. The characters in the Argentinean heart-warmer Valentín spend so much time squabbling and yelling that after a while I began to long for a nice movie about a family of mutes.
  6. Van Helsing wears its price tag on its ruffled lamé sleeve. And yet it gives off an aura of what I can only call lavish cheapness.
  7. Super Size Me is exploratory, as opposed to being just numbingly didactic, and that's what makes it so engaging.
  8. There's a sly intelligence at work here -- in the writing, the filmmaking and the acting -- that makes it deeply pleasurable to watch.
  9. The visual originality of The Saddest Music is deceiving: Narratively and spiritually, the movie is bankrupt, even though it's so packed with stuff (including a set of shapely prosthetic glass legs filled with dazzling, fizzy beer) that you can hardly bring yourself to believe that it all adds up to nothing.
  10. I was so charmed by the opening scenes of 13 Going on 30, and so entertained by the middle portion of it, that I had high hopes for its ending -- hopes that were cruelly dashed. Like a petulant 13-year-old, I'm still pouting over my disappointment.
  11. It's dispiriting to see good actors doing smart, solid work with so much unadulterated garbage swirling around them. Scott's art is also death, and we, the audience, are the ones he's jabbing at with his ruthless paintbrush. It's about time someone told him where to stick it.
  12. There's no doubt that Kill Bill is an epic, and no doubt of the skill that's often apparent. But what it leaves us with is awesomely trivial.
  13. Isn't really a movie but a blatant girls' night out vehicle.
  14. If you can get past the goofy writing, there's lots of noisy action in The Punisher, but little of it is particularly exhilarating. In fact, it's more of an endurance test. If you can sit through it, you should consider yourself duly punished.
  15. Lost the friskiness and wildness and charm the movie might have had.
  16. The direction on Johnson Family Vacation is numbingly slack; the synapses between the scenes don't spark effortlessly, as they should, and the whole enterprise feels dragged-down and belabored.
  17. One of the most poetic comic-book adaptations to come along in years, yet it never loses its sense of lightness and fun -- del Toro gives it just enough screwball nuttiness to keep it from bogging down.
  18. As an ode to fatherhood, Jersey Girl is sweet without being particularly deep; but Smith is really onto something when he nudges against the ways in which the geographic landscape of a life merges with the genetic one.
  19. Sructured like a Mad magazine parody where there's a promised joke in each frame. It doesn't add up to a movie.
  20. Anti-Americanism is a small matter when a movie is anti-human. Dogville is as total a misanthropic vision as anything control freak Stanley Kubrick ever turned out.
  21. What comes through most vibrantly in Mayor of Sunset Strip, shining through Bingenheimer's low-key, laid-back, almost monotone manner of speaking, is how much the music has meant to him, even if it never exactly lined his pockets.
  22. Represents a failure of nerve: As if Gondry and Kaufman weren't sure that the story of Joel and Clementine would hold us, the doomed couple's unfolding-in-reverse romance is intercut with a subplot filled with zany touches.
  23. Jolie is far too good for this tripe but she does give the film its only believable moments, and for the first half, her concentration makes you watch her intently.
  24. Watching it is a little like stumbling upon a frayed valentine you put away years ago and then laughing with pleasure at how much it still means to you.
  25. Instead of taking us someplace we fear to go, Secret Window leads us to a place we've already been -- we know it so well, we could write the book on it ourselves.
  26. Spartan is the same old stuff, but now it's been thoroughly Mametized, like a spray-on treatment you could spritz out of a can.
  27. Even as a nostalgia ride, Starsky & Hutch poops out before it ever gets going.
  28. The lost opportunity of Hidalgo isn't that it fails to live up to its potential for romantic adventure, but that it fails to dig into the romance between man and horse that's at the heart of the story.
  29. The plot construction here is especially lazy. The whole movie is built toward the dance competition.
  30. Totally unwatchable if it weren't for Ashley Judd.

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