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

Julie Salamon's Scores

  • Movies
Average review score: 63
Highest review score: 100 The Player
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
    • 94 Metascore
    • 100 Julie Salamon
    The most imaginative movie to come along in ages. [18 Oct 1994, p.A14(W)]
    • 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)]
    • 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)]
    • 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]
    • 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)]
    • 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)]
    • 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)]
    • 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)]
    • 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)]
    • 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]
    • 83 Metascore
    • 100 Julie Salamon
    A magnificent movie. [19 Oct 1993, p.A18(E)]
    • 83 Metascore
    • 70 Julie Salamon
    [(Cher's) never been better. [5 Jan 1988, p.22(E)]
    • 83 Metascore
    • 80 Julie Salamon
    As director, Mr. Branagh and his cameraman have chosen to shoot his film tight and drab, a style that allows the actors to speak the poetry without affect. Nothing's prettified. [09 Nov 1989]
    • 82 Metascore
    • 100 Julie Salamon
    It's powerful entertainment. [22 Sept 1992, p.A16(E)]
    • 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]
    • 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]
    • 82 Metascore
    • 70 Julie Salamon
    Though the picture by no means endorses drugs, and paints the junkie life as almost intolerably dull as well as destructive, it is a welcome relief from the mostly heavy-handed Hollywood pictures that tackle the subject. [05 Oct 1989]
    • 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]
    • 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]
    • 80 Metascore
    • 70 Julie Salamon
    It's all rather amusing, but after awhile you tire of all the perfect little nuances about characters who seem like prototypes for a certain type of Victorian novel. [6 Mar 1986, p.23(E)]
    • 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)]
    • 79 Metascore
    • 90 Julie Salamon
    This is a first-rate squealer. [07 Aug 1986]
    • 78 Metascore
    • 30 Julie Salamon
    By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]
    • 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)]
    • 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)]
    • 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)]
    • 77 Metascore
    • 80 Julie Salamon
    The strangest thing about his latest picture, Hairspray, is how very sweet and cheerful it is. In his own weird way, Mr. Waters has captured the gleeful garishness of the early '60s, when high-school girls wore demure bows in their ratted hair and deadened their lips with palest pink lip gloss -- and believed that racial harmony was inevitable if teens of all flavors could dance together on TV. [25 Feb 1988, p.1]
    • 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]
    • 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]
    • 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]