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

Julie Salamon's Scores

  • Movies
Average review score: 63
Highest review score: 100 The Piano
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
    • 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]
    • 72 Metascore
    • 80 Julie Salamon
    Big
    I am glad to be able to say that all these clever and talented people have actually come up with the goods. The biggest goodie is Tom Hanks as the little boy after his wish has been granted. Much of the comedy in this movie is physical. Without forcing the matter Mr. Hanks has a startling ability to take on the mannerisms and facial expressions of an adolescent. [2 Jun 1988, p.1]
    • 67 Metascore
    • 80 Julie Salamon
    This clever thriller has the juiced-up, hyperactive feel of a rock video. [07 Mar 1995]
    • 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]
    • 73 Metascore
    • 70 Julie Salamon
    Mr. Singleton is a very good storyteller, but every once in a while he stops his story cold with speeches. You can feel the audience lost interest, as though a commercial has suddenly popped on screen. [18 July 1991, p.A9(E)]
    • 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)]
    • 65 Metascore
    • 70 Julie Salamon
    A warm-heared picture with some hot dancing, some B movie class consciousness, lots of nostalgia and lots of cliches. [3 Sept 1987, p.17(E)]
    • 83 Metascore
    • 70 Julie Salamon
    [(Cher's) never been better. [5 Jan 1988, p.22(E)]
    • 64 Metascore
    • 70 Julie Salamon
    Too often the film languishes as Mr. Kasdan poses Big Questions and then has his characters answer them in conversations that are so casual they seem improvised. [26 Dec 1991]
    • 58 Metascore
    • 70 Julie Salamon
    Green Card is quite pleasant to watch mainly because Mr. Weir hasn't disturbed its simple virtues with undue portent. Sometimes a plate of spaghetti with a simple tomato sauce is just the thing, and this is the movie equivalent of that. [10 Jan 1991, p A12]
    • 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]
    • 64 Metascore
    • 70 Julie Salamon
    Silverado looks great and moves fast. Mr. Kasdan has packed his action well against the fearsomely long, dusty stretches of Western plain. [11 Jul 1985, p.1]
    • 71 Metascore
    • 70 Julie Salamon
    Mad Dog and Glory also seems like two movies at once, only in this case the split comes off like a case of Siamese twins. Actually, it's girls on one side and boys on the other, and the boys get all the breaks. [4 Mar 1993, p.A12]
    • 62 Metascore
    • 70 Julie Salamon
    The Man Without a Face is nothing if not respectable, and occasionally it is something more than that. [26 Aug 1993, p.A9]
    • 56 Metascore
    • 70 Julie Salamon
    The filmmakers aren't out to make a crisp action fantasy like the vigilante movies of the 1970s. Their disaffected man has no specific enemy or at least not one that he acknowledges; modern life is his enemy. This realization hits him one day and he begins to act on it, spontaneously. He's an existential vigilante. [25 Feb 1993, p.A12]
    • 45 Metascore
    • 70 Julie Salamon
    With a refreshing absence of earnestness, the movie mainly spins out many variations on a theme: Easy Street begins and ends on Capitol Hill. [03 Dec 1992]
    • 49 Metascore
    • 70 Julie Salamon
    Odd as it seems for a film built on such a grand scale, sweet is the operative word here, and that's not meant as an insult. [29 May 1992]
    • 60 Metascore
    • 70 Julie Salamon
    The movie blurs into a continuum of cars pounding one another and closeups of faces showing disgust, happiness, fear and outrage. It's the kind of shorthand imagery that works best in brief spurts, say, the amount of time it takes for a television commercial to implant a spark-plug brand into your brain. [5 Jul 1990, p.A9]
    • 39 Metascore
    • 70 Julie Salamon
    Mr. Carter's intelligent, straight-forward style and the good performances of the young actors prohibit hooting at the story's completely American approach to a German story. [11 Mar 1993]
    • 46 Metascore
    • 70 Julie Salamon
    This fairy tale is a weirdly enchanting mixture of old-fashioned whimsy and up-to-the-minute special effects. It brings back the early excitement of reading as a child, when the act of turning pages took on a magical quality. [19 Jul 1984, pg.1]
    • 68 Metascore
    • 70 Julie Salamon
    Whatever the movie's failings, it had enough poignancy and beauty to make me want to find out what was missing. [08 Oct 1992]
    • 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)]
    • 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)]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]