For 1,677 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 7.4 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Ran (re-release)
Lowest review score: 0 Saving Silverman
Score distribution:
1,677 movie reviews
    • 78 Metascore
    • 100 Marc Savlov
    It's a short, sharp, shock to the cinematic system that's virtually impossible to dislike, and if you don't leave the theatre grinning your face off, then buddy, movies just aren't for you.
    • 78 Metascore
    • 100 Marc Savlov
    Even though we're aware of the tragic trajectory of the singer's life, for a while it almost seems as if reality got it wrong and Curtis might just squeak past the reaper's scythe with no more than a shave and a haircut.
    • 90 Metascore
    • 100 Marc Savlov
    One of the 10 best films ever made, period.
    • 74 Metascore
    • 100 Marc Savlov
    Gilliam keeps the audience guessing, and in doing so creates a startlingly effective rumination on the nature of sanity and madness cloaked in the shroud of a sci-fi thriller.
    • 90 Metascore
    • 100 Marc Savlov
    Such gorgeous explosions, such a terrible vision, such an amazing work of art. Go. Now.
    • 83 Metascore
    • 89 Marc Savlov
    It's not necessary to be a longtime fan of the Star Trek universe to appreciate the sheer emotional punch and swagger of this rough and randy Enterprise crew.
    • 83 Metascore
    • 89 Marc Savlov
    It's thrilling and lovely and sad and explosive in all the right ways, and it needs to be seen – on the big screen, in 3-D – to be believed.
    • 77 Metascore
    • 89 Marc Savlov
    Everything fits perfectly, from titles to fin, but most of all Firth, who dons the role of George like a fine bespoke suit.
    • 81 Metascore
    • 89 Marc Savlov
    Blomkamp and his entire cast and crew have created an instant genre classic that transcends the self-limiting ghetto implied by the term "science fiction" and instead, like precursors such as Robert Wise's "The Day the Earth Stood Still," engages not only the mind but the heart as well. It's magnificent.
    • 73 Metascore
    • 89 Marc Savlov
    Zombieland is dead set against being dead serious. Its tonal pallor has more in common with a foreshortened "It's a Mad, Mad, Mad, Mad World" than with "28 Days" or "Weeks Later," and then, again, there's that jaw-dropping cameo. It'll kill ya.
    • 49 Metascore
    • 89 Marc Savlov
    Possibly the best argument against couples therapy ever, Antichrist is a tour-de-force trip inside the mind of a dangerously depressed man. That man is Danish filmmaker von Trier, and he has gone on record as having conceived and executed Antichrist in the wake of a deep depression.
    • 83 Metascore
    • 89 Marc Savlov
    Nothing short of horror-hound heaven.
    • 87 Metascore
    • 89 Marc Savlov
    This isn't some pomo arthouse picture looking to score points by subverting the gangster paradigm; it's a killer film about killers who idolize film but are unable or unwilling to parse the doom that always crops up come Act III.
    • 89 Metascore
    • 89 Marc Savlov
    It's enough to make you weep.
    • 86 Metascore
    • 89 Marc Savlov
    Like Mumbai, Slumdog pulses and throbs with raw, unadulterated life and the hope for a better Bombay, today. It's brilliant.
    • 82 Metascore
    • 89 Marc Savlov
    Could be summarized as a vampire tween romance, but that cheap and tawdry sum-up does zero justice to the magnificent emotional resonance of this gemlike bloodstone of a film.
    • 86 Metascore
    • 89 Marc Savlov
    This is a dream cast for both Scorsese and the viewer, and everyone is working at the peak of their craft. Nicholson's flawless performance as the increasingly unhinged crime boss is a marvel of manic, paranoid ruination.
    • 94 Metascore
    • 89 Marc Savlov
    This is Pixar's finest and most emotionally powerful film yet, and it draws on a wealth of cinematic resources that run the gamut from Chaplin's best to Buster Keaton, Jacques Tati, and even Martin and Lewis.
    • 91 Metascore
    • 89 Marc Savlov
    Be forewarned: Folman closes his film with a grisly, real-death denouement that may give you some nightmares of your own. As well it should.
    • 96 Metascore
    • 89 Marc Savlov
    Pixar's animation is simply flawless; colorful, deeply realized, and ably conveying both the chaos of the kitchen, and the sensual allure of food well prepared.
    • 89 Metascore
    • 89 Marc Savlov
    Hauntingly beautiful film.
    • 69 Metascore
    • 89 Marc Savlov
    It's a masterful film, the kind you itch to see twice or more, as elliptical as a dream and as direct as the short sharp shock of lead kissing flesh.
    • 85 Metascore
    • 89 Marc Savlov
    The Host is a freewheeling mix of high style and goofy, good-natured fear-mongering.
    • 82 Metascore
    • 89 Marc Savlov
    Much has been made about the film's "humanizing" of Hitler, but he's only human here in the most prosaic of terms.
    • 76 Metascore
    • 89 Marc Savlov
    This second incarnation of the Mike Judge and Don Hertzfeldt-produced animation anthology is, if anything, even better than the first.
    • 66 Metascore
    • 89 Marc Savlov
    If Victorian Manchester had been remotely like this, H.G. Wells never would have bothered to pen "The Time Machine" – he'd have just stepped outside and into the fray.
    • 74 Metascore
    • 89 Marc Savlov
    Honestly, this ultra-noir adaptation of Frank Miller's black-and-white cult comic series is a visual feast ripped straight from the original medium's blood-soaked pages.
    • 78 Metascore
    • 89 Marc Savlov
    Provides that rarest of documentary accomplishments: a glimpse into the artists' sunny, dark hearts.
    • 84 Metascore
    • 89 Marc Savlov
    Sauper's delicately horrific documentary is a short, sharp slap in the face of the developed world, and a long overdue one at that.
    • 87 Metascore
    • 89 Marc Savlov
    It's a ripping good yarn, to boot, breathlessly paced and seamlessly edited, but most important, resoundingly and surpassingly fun.

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