Julie Salamon
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For 94 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.3 points higher than other critics. (0-100 point scale)

Julie Salamon's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Princess Bride
Lowest review score: 0 Lethal Weapon 3
Score distribution:
  1. Positive: 51 out of 94
  2. Negative: 13 out of 94
94 movie reviews
    • 86 Metascore
    • 100 Julie Salamon
    This brilliant satire, styled as a murder mystery, is the best insider's view of Hollywood since "Sunset Boulevard." [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
    • 86 Metascore
    • 100 Julie Salamon
    Mr. Frears is as good with the small touches as he is with the big ones – and that means they're great. [24 Jan 1991, p.A8(E)]
    • Wall Street Journal
    • 77 Metascore
    • 100 Julie Salamon
    The movie has its own genuine charm and one hilarious high: Billy Crystal & Carol Kane are simply wonderful. [24 Sept 1987, p.24(E)]
    • Wall Street Journal
    • 94 Metascore
    • 100 Julie Salamon
    The most imaginative movie to come along in ages. [18 Oct 1994, p.A14(W)]
    • Wall Street Journal
    • 93 Metascore
    • 100 Julie Salamon
    A movie that falls outside the ordinary, or even the extraordinary. There is enormous passion and artistic integrity throughout this film. [11 Jan 1994, p.A10(E)]
    • Wall Street Journal
    • 82 Metascore
    • 100 Julie Salamon
    It's powerful entertainment. [22 Sept 1992, p.A16(E)]
    • Wall Street Journal
    • 83 Metascore
    • 100 Julie Salamon
    A magnificent movie. [19 Oct 1993, p.A18(E)]
    • Wall Street Journal
    • 89 Metascore
    • 100 Julie Salamon
    With its breathtaking visual style and careful attention to sound and movement, the movie provokes contemplation about the ways people communicate – through words, through music, through sex, and, most significantly, through touch. [14 Dec 1993, p.A14(E)]
    • Wall Street Journal
    • 79 Metascore
    • 100 Julie Salamon
    Extraordinary...The movie has the intensity of an epic, only its subject matter is everyday life. [19 Oct 1993, p.A18(E)]
    • Wall Street Journal
    • 90 Metascore
    • 100 Julie Salamon
    This unpredictable and hilarious paranoid fantasy is a contemporary, urban "Wizard of Oz," peopled by punk artists and Yuppie vigilantes instead of wicked witches and Munchkins. [5 Sep 1985, p.1]
    • Wall Street Journal
    • 90 Metascore
    • 90 Julie Salamon
    Persistently upends expectations without insult, as it pulls you into a netherworld filled with yearning, whimsy, and danger. [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
    • 86 Metascore
    • 90 Julie Salamon
    [Crowe] knows how to shape a scene and he's never cheap with characterization; adults are permitted to be as complex as their children; a rare event in pictures. [18 May 1989, p.A14(E)]
    • Wall Street Journal
    • 65 Metascore
    • 90 Julie Salamon
    A film that is both touching and generous of spirit - and funny as well. [15 Dec 1988, p.A16(E)]
    • Wall Street Journal
    • 79 Metascore
    • 90 Julie Salamon
    This is a first-rate squealer. [07 Aug 1986]
    • Wall Street Journal
    • 74 Metascore
    • 90 Julie Salamon
    The director Penny Marshall has gone straight to the heart of this complex story and made a powerfully poignant and illuminating film. She doesn't hesitate to push for the grand sentimental moment, but balances the teary stuff with restraint and humor. To be sure, Awakenings seems calculated to induce weeping -- and it does, without making the weeper feel cheap. [20 Dec 1990, p.A14]
    • Wall Street Journal
    • 84 Metascore
    • 90 Julie Salamon
    The dialogue in "Broadcast News" is so quick and clever I wanted to see the movie again the minute it ended because I knew I couldn't have possibly caught it all. I caught most of it though, and certainly enough to know that this is one terrific movie. [15 Dec 1987, p.1]
    • Wall Street Journal
    • 81 Metascore
    • 90 Julie Salamon
    This musical about a plant that craves blood has a smart and snappy score -- and Steve Martin in a hilarious bit as a dentist who gives himself laughing gas as he treats his unanesthetized patients. [23 Dec 1986, p.1]
    • Wall Street Journal
    • 73 Metascore
    • 80 Julie Salamon
    Heathers gave me the creeps but it also made me laugh. This bizarre variation on that Hollywood staple, the teen movie, is one weird original. [30 Mar 1989 p.A12(E)]
    • Wall Street Journal
    • 93 Metascore
    • 80 Julie Salamon
    What's fun about this movie is the sight of Mr. Irons's Claus stalking the mansion like a tall, skinny ghost smiling at the perverseness of it all. [18 Oct 1990, p.A14(E)]
    • Wall Street Journal
    • 66 Metascore
    • 80 Julie Salamon
    With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]
    • Wall Street Journal
    • 76 Metascore
    • 80 Julie Salamon
    The movie's considerable emotional force springs from the splendor of its visual poetry. Mr. Bertolucci allows the sweep of 60 years of Chinese history to unfold around Pu Yi as background noise to his peculiar, poignant role in the emergence of modern China. [25 Nov 1987, p.1]
    • Wall Street Journal
    • 73 Metascore
    • 80 Julie Salamon
    Besides engineering top-notch performances from his actors, Mr. Demme also put together a soundtrack that enhances the movie's marvelous, quirky rhythms. He keeps you hooked into this unpredictable, pleasurable picture right through the closing credits. [6 Nov 1986]
    • Wall Street Journal
    • 59 Metascore
    • 80 Julie Salamon
    By the end there isn't anyone to cheer for, except the makers of this thoughtful and absorbing piece of work. [02 Aug 1984]
    • Wall Street Journal
    • 73 Metascore
    • 80 Julie Salamon
    To their credit, and to the credit of Paul Newman and Joanne Woodward in the title roles of Mr. and Mrs. Bridge, the movie doesn't condescend to these relics of the recent past, but treats them with poignancy and humor. [21 Nov 1990]
    • Wall Street Journal
    • 82 Metascore
    • 80 Julie Salamon
    With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]
    • Wall Street Journal
    • 80 Metascore
    • 80 Julie Salamon
    Mr. Scorsese has created a Judea that is dusty and harsh, where visions in the middle of a night seem like. Some of the visual compositions are dizzyingly beautiful; the Crucifixion scene couldn't be more masterful, or heartbreaking. [11Aug 1988, p.1]
    • Wall Street Journal
    • 72 Metascore
    • 80 Julie Salamon
    JFK
    It's powerful film making that at the very least accomplishes what Mr. Stone said he set out to do - to offer the world an alternate myth. [20 Dec 1991]
    • Wall Street Journal
    • 68 Metascore
    • 80 Julie Salamon
    I never saw the original, but the sprightly remake couldn't be more delightful. As the ultra-suave Lawrence Jamison, Mr. Caine wears his hair and mustache Niven-like -- slicked down but never greasy. He manages to draw more laughs by merely reacting than most comics can pull out of a punchline. With his calculated coarseness, Mr. Martin is a perfect foil. Behind the scenes is former Muppet Man Frank Oz. He pulls the strings so deftly he never disturbs the froth. [15 Dec 1988, p.1]
    • Wall Street Journal
    • 82 Metascore
    • 80 Julie Salamon
    The picture sets up high expectations for itself with its wonderful casting, and the actors don't disappoint. [1 Aug 1989, p.1]
    • Wall Street Journal
    • 60 Metascore
    • 80 Julie Salamon
    With an edgy, intelligent script by playwright Tom Stoppard, Mr. Spielberg has made an extraordinary film out of Mr. Ballard's extraordinary war experience. [09 Dec 1987]
    • Wall Street Journal

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