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 2.9 points higher than other critics. (0-100 point scale)

Julie Salamon's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Age of Innocence
Lowest review score: 0 Ferris Bueller's Day Off
Score distribution:
  1. Positive: 51 out of 94
  2. Negative: 13 out of 94
94 movie reviews
    • 67 Metascore
    • 60 Julie Salamon
    Mr. Lyne is able to make things look the way they're supposed to look because he trained in the television-commercial world. But he has a hard time getting beneath the gloss. [17 Sep 1987, p.1]
    • Wall Street Journal
    • 62 Metascore
    • 60 Julie Salamon
    Though not terribly interesting as political philosophy, A Few Good Men makes for a passably entertaining movie. [31 Dec 1992, p.A5(E)]
    • Wall Street Journal
    • 71 Metascore
    • 60 Julie Salamon
    Mr. Nichols decided to preserve the jokiness of the original material, even while shifting the emphasis to the mother-daughter conflict. There may have been a way to do this and end up with a clever movie, but Mr. Nichols seems to have had an even cleverer idea: He decided to use this movie as a way to pay back social obligations. [13 Sep 1990, p.A14]
    • Wall Street Journal
    • 48 Metascore
    • 60 Julie Salamon
    Some of the comedy bits have a delightful freshness and edge while much of the glue (the romance, for example) holding the routines together remains a little sticky. [31 Jan 1989, p.1]
    • Wall Street Journal
    • 50 Metascore
    • 60 Julie Salamon
    The movie that remains is lovely to look at, but spiritless, a listless coquette. But then, 9 1/2 Weeks isn't about talk. It isn't about sadomasochism. It isn't even about sex. It's about looking good. [20 Feb 1986, p.1]
    • Wall Street Journal
    • 67 Metascore
    • 60 Julie Salamon
    Lethal Weapon is vulgar, violent and predictable. Yet, in some outbreak of id, I got caught up in the shenanigans of Danny Glover and Mel Gibson as a mismatched cop team. Mr. Glover is more than solid and Mr. Gibson has added a kind of raw humor to his repertoire that is extremely sexy. [5 Mar 1987, p.1]
    • Wall Street Journal
    • 68 Metascore
    • 60 Julie Salamon
    Like the "girls," the movie is flamboyant in almost every respect - the costumes, the humor and the sentimentality. [1 Sep 1994]
    • Wall Street Journal
    • 53 Metascore
    • 60 Julie Salamon
    Despite the numerous predictable jokes about geriatric sex, the movie is very appealing for numerous surprising reasons. Many of them have to do with ice fishing in Minnesota. [9 Dec 1993, p.A14]
    • Wall Street Journal
    • 66 Metascore
    • 60 Julie Salamon
    They have also stripped out almost all complexity, reducing the drama to a familiar match between good and evil. You've heard all the speeches before; only the nouns have been changed. [23 Dec 1993, p.A9]
    • Wall Street Journal
    • 74 Metascore
    • 60 Julie Salamon
    A brilliant mess, I suppose, in the way that seriously disturbed people can sometimes deliver a briefly mesmerizing vision of the universe while babbling. If nothing else, Natural Born Killers is the most in-your-face movie ever released by a major Hollywood studio. [25 Aug 1994, p.A10]
    • Wall Street Journal
    • 46 Metascore
    • 60 Julie Salamon
    There weren't any surprises and that's what made it all so comforting. The bad guys got blown away, no questions asked, the snoopy journalists got their comeuppance. When Clint spends the night with his latest girl, you know it only because he wears the same suit the next morning. [21 Jul 1988, p.1]
    • Wall Street Journal
    • 69 Metascore
    • 60 Julie Salamon
    But even as the film's weaknesses make themselves more and more apparent, so does Mr. Turturro's virtuosity. [15 Aug 1991, p.A10(E)]
    • Wall Street Journal
    • 67 Metascore
    • 60 Julie Salamon
    It's a little precious and a little boring, but he has brought out an interesting performance from Adrienne Shelly, who convincingly pulls off a transformation from aimless pregnant teenager to purposeful young woman. [05 Sep 1991]
    • Wall Street Journal
    • 53 Metascore
    • 50 Julie Salamon
    Matching Danny DeVito and Arnold Schwarzenegger is an amusing conceit played out in an entirely predictable fashion. It certainly isn't harmful, and Mr. Schwarzenegger is kind of cute when he smiles. [8 Dec 1988, p.1]
    • Wall Street Journal
    • 28 Metascore
    • 50 Julie Salamon
    A brilliant but completely muddled concoction about the relationship between fantasy and reality. [16 Jul 1992]
    • Wall Street Journal
    • 60 Metascore
    • 50 Julie Salamon
    Actually, maybe the movie is better than it seems to be -- I just couldn't understand what anyone was saying. The dialogue came across as clear as schoolyard chatter during recess -- and just about as pleasant to listen to. There is a water slide, a pirate ship and an amusing little chubbikins (Jeff Cohen) who squirts Reddi Wip directly into his mouth. [20 Jun 1985, p.1]
    • Wall Street Journal
    • 44 Metascore
    • 50 Julie Salamon
    The director Penny Marshall has a gently persuasive touch that keeps the movie's most brazen manipulations from being too offensive. [02 Jun 1994]
    • Wall Street Journal
    • 55 Metascore
    • 50 Julie Salamon
    These fraternal film makers have a lot of imagination and sense of fun - and, most of all, a terrific sense of how to manipulate imagery... But sometimes they seem to be getting too big a kick out of their own shenanigans. By the end, the fun feels a little forced. [26 Mar 1987, p.34(E)]
    • Wall Street Journal
    • 47 Metascore
    • 50 Julie Salamon
    These are very small pleasures, indeed, that can be taken as gasps of air in a movie that unwinds for what seems like forever in a complete vacuum. [23 Jun 1994, p.A12]
    • Wall Street Journal
    • 56 Metascore
    • 50 Julie Salamon
    Wall Street is a silly, pretentious melodrama that panders to the current fascination with insider trading. [10 Dec 1987, p.1]
    • Wall Street Journal
    • 62 Metascore
    • 50 Julie Salamon
    As a metaphysical exploration of otherworldliness, Jacob's Ladder has a kind of morbid intensity, for those who like that sort of thing. The picture flounders, however, with its insistence on injecting a little politics into the paranormal brew. [1Nov 1990, p.A20]
    • Wall Street Journal
    • 77 Metascore
    • 50 Julie Salamon
    This is all very strange and a little tedious. Yet there is something arresting and oddly poignant in Mr. Van Sant's playful vision of the road to nowhere. [3 Oct 1991, p.A14(E)]
    • Wall Street Journal
    • 49 Metascore
    • 40 Julie Salamon
    The picture's blandness - and hollowness - is startling when you consider the collaborators. [26 Nov 1986]
    • Wall Street Journal
    • 32 Metascore
    • 40 Julie Salamon
    UHF
    UHF, a parody of trash television, is almost defiantly silly, but when it's funny it is very funny. This sloppy, good-natured satire certainly doesn't threaten "Network's" status as the classic decimation of the television business. [27 Jul 1989, p.1]
    • Wall Street Journal
    • 55 Metascore
    • 40 Julie Salamon
    It's just that the picture doesn't have a strong idea behind it, just a fog of many half-expressed ideas. [26 Feb 1987, p.20(E)]
    • Wall Street Journal
    • 56 Metascore
    • 40 Julie Salamon
    Mr. Murray and his co-director, Howard Franklin, who adapted Jay Cronley's novel for the screen, succeed mainly in illuminating what made them want to direct the material. At least this picture struggles to emit a few gasps of fresh air as it goes down. [19 Jul 1990, p.A8]
    • Wall Street Journal
    • 52 Metascore
    • 40 Julie Salamon
    Hoffman and Beatty are so tone-deaf they don't even know how to play the songs for deadpan humor. They seem old, white, and without shtick. [14 May 1987, p.26(E)]
    • Wall Street Journal
    • 56 Metascore
    • 40 Julie Salamon
    It's ended up a weak imitation of the original. [09 Aug 1990]
    • Wall Street Journal
    • 42 Metascore
    • 40 Julie Salamon
    The story wanders unconvincingly and tediously into corporate law offices and big, splashy nightclubs. Still, Mr. Hackford has the documentary maker's eye for realistic detail, so it all looks right. [01 Mar 1984]
    • Wall Street Journal
    • 78 Metascore
    • 40 Julie Salamon
    The only thing Mr. Tarantino spells out is the violence. I have seen much more blood spilled, yet I felt sickened by the coldness of this picture's visual cruelty. [29 Oct 1992, p.A11(E)]
    • Wall Street Journal

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