For 1,649 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 7.1 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
Average review score: 52
Highest review score: 100 Control
Lowest review score: 0 Supercross
Score distribution:
1,649 movie reviews
    • 56 Metascore
    • 30 Marc Savlov
    Feels more like Barry Levinson's "Tin Men" on Prozac.
    • 56 Metascore
    • 30 Marc Savlov
    The most lackadaisical thriller I've ever seen, overly infatuated with not only the inexplicability of random evil, but also its mundanity.
    • 38 Metascore
    • 30 Marc Savlov
    The script by S.S. Wilson and Brent Maddock (Ghost Dad) is so jumbled and the direction so chaotic that it's often hard to tell what's going on -- where, when, and why.
    • 35 Metascore
    • 30 Marc Savlov
    Apart from the fang-restraint of the nosferatu, however, there's precious little that's altogether new or for that matter shocking about this by-the-numbers thriller.
    • 46 Metascore
    • 30 Marc Savlov
    Remains little more than a briefly fascinating curiosity, a travelogue for those of us who can't actually attend.
    • 52 Metascore
    • 30 Marc Savlov
    Just watching the trailer for Oliver Stone's new football epic a few weeks back left me with a grating headache; watching the whole sweaty film practically put me in the ICU.
    • 40 Metascore
    • 30 Marc Savlov
    Selick is widely and rightly regarded as a master of surreal, dark humor, and wildly inventive animation technique, and Monkeybone is the first tarnish on his otherwise spotless reputation.
    • 38 Metascore
    • 30 Marc Savlov
    Sporadically funny, the film seems weighted down, literally, with bulging, bulbous Murphys flatulating endlessly.
    • 37 Metascore
    • 30 Marc Savlov
    The finished product is as predictably dull as a newborn's soft spot.
    • 55 Metascore
    • 30 Marc Savlov
    A character-driven piece with a character who seems somewhat hollow.
    • 38 Metascore
    • 30 Marc Savlov
    A limp and lackluster affair that telegraphs its feel-good smarm miles in advance.
    • 53 Metascore
    • 30 Marc Savlov
    It's the type of film that begs to be called “charming” and by doing so instead ends up grating.
    • 49 Metascore
    • 30 Marc Savlov
    The bottom line with the film is that there's just no damn mystery about it.
    • 36 Metascore
    • 30 Marc Savlov
    Fumbles on so many levels it's just plain silly. To paraphrase the film's tagline: The Thirteenth Floor: You can go there, but why would you want to?
    • 56 Metascore
    • 30 Marc Savlov
    It works only sporadically, and more as a comic outing than as a vicious battle of sexual predation.
    • 12 Metascore
    • 30 Marc Savlov
    This new film version, sad to say, is a hollow shell of the original series.
    • 24 Metascore
    • 30 Marc Savlov
    An exercise in unintentional farce.
    • 51 Metascore
    • 30 Marc Savlov
    The few gags that hit their mark only serve to point up how flaccid the rest of his material is, and that spells doom for a comic, no matter how much his hometown crowd cheers him on.
    • 28 Metascore
    • 30 Marc Savlov
    It's all a bit of overkill.
    • 63 Metascore
    • 30 Marc Savlov
    A dead-chamber misfire, a hollowpoint dud.
    • 49 Metascore
    • 30 Marc Savlov
    It's mediocrity at its most unremarkable.
    • 40 Metascore
    • 30 Marc Savlov
    Director Irwin Winkler and his cast obviously hope to shed light on the boundaries of love, and instead come up with a walloping case of the preachies.
    • 34 Metascore
    • 30 Marc Savlov
    Herzfeld also wrote the screenplay, and so its leaden and obvious tone and the resulting dearth of delicacy rests squarely on him.
    • 27 Metascore
    • 30 Marc Savlov
    As middling comedies go, this is neither as smart as it ought to be nor as dumb as you'd expect.
    • 41 Metascore
    • 30 Marc Savlov
    From the swooping aerial shots of downtown Miami, to the long, long-legged beauties that seem to crop up every time the action threatens to slow down, to the nonsensical lack of logic that permeates the film like the acrid odor of wasted cordite, Bad Boys oozes Eighties Hollywood clichés like no film since "Top Gun."
    • 35 Metascore
    • 30 Marc Savlov
    Neither as good as its direct ancestor (Michael Schultz's great 1976 hood masterpiece Car Wash) nor as clever as the original Friday, this is, to put it bluntly, all seeds and stems.
    • 35 Metascore
    • 30 Marc Savlov
    A 119-minute trailer.
    • 24 Metascore
    • 30 Marc Savlov
    A boisterous, gooey miscue.
    • 21 Metascore
    • 30 Marc Savlov
    Prinze, Lillard, and Biel are all pleasant enough to look at, but the film's Romeo and Juliet tropes are shopworn by now, and the movie gives us nothing else.
    • 62 Metascore
    • 30 Marc Savlov
    In all honesty I'd advise you to go rent the stunning (and brand-new) DVD of the director's great "Le Mépris (Contempt)," which seems to me to be much more Godardian and much less hopeless.
    • 30 Metascore
    • 30 Marc Savlov
    Eager to please, but it’s so lacking in real-world skate politics that it more resembles the chugging PG-13 mediocrity of Top 40 pop-punk-lite than the hard-core Black Flagisms of Peralta’s scathingly real doc.
    • 45 Metascore
    • 30 Marc Savlov
    Surely something more original than this could have been mined from the history of North America’s largest and most professional police force. As it is, though, Johnson’s film is just firing blanks.
    • 49 Metascore
    • 30 Marc Savlov
    Torpedoed by its own overarching idealism -- the film targets the new star system, the media, the studios, digital technology, and pretty much everything else you might care to think of -- and not enough script to back it all up.
    • 19 Metascore
    • 30 Marc Savlov
    An inoffensive, eminently forgettable bit of fluff.
    • 35 Metascore
    • 30 Marc Savlov
    Barely even worthy of a straight-to-video release, as simplistic and silly as it is.
    • 52 Metascore
    • 30 Marc Savlov
    Can barely limp to its final CinemaScope sunset shot.
    • 37 Metascore
    • 30 Marc Savlov
    By the time the closing credits roll, you're wondering if anyone else noticed that nothing made much sense.
    • 40 Metascore
    • 30 Marc Savlov
    It's a pleasure to watch, but I found myself wondering if having a story here even mattered to the director at all.
    • 48 Metascore
    • 30 Marc Savlov
    A less cohesive action-comedy than its predecessor, Full Throttle is instead a freewheeling collection of random action sequences strung together with little or no discernible rhyme or reason.
    • 26 Metascore
    • 30 Marc Savlov
    Director Chappelle lays on the spook factor heavy in the first 30 minutes or so, but the film quickly devolves into a simplistic slash 'n' bash shoot-'em-up which goes nowhere fast.
    • 22 Metascore
    • 30 Marc Savlov
    Jawbreaker has all the heart and soul of last week's mystery loaf (a dish that made the weekly rounds at my alma mater, sadly). And like that unidentifiable bovine by-product, the film is a chilly, messy anti-treat, sweet on the outside, sickly on the in.
    • 40 Metascore
    • 30 Marc Savlov
    At its core, a very manipulative piece of work.
    • 37 Metascore
    • 30 Marc Savlov
    About as thrilling as cleaning out your garage.
    • 59 Metascore
    • 30 Marc Savlov
    Like rocky road ice cream, The Rundown is chunky stuff, full of calories and easy to take in small doses. Also like rocky road, it’s bound to attract flies if you leave it lying around, and, more to the point, too much of it is likely to make you gag.
    • 43 Metascore
    • 30 Marc Savlov
    Possibly one of the dullest takes on a real-life murder mystery, this gutter’s-eye-view of the waning days of Los Angeles porn king John "Johnny Wadd" Holmes is barely as interesting as one of the big man’s films, and a lot less revelatory.
    • 55 Metascore
    • 30 Marc Savlov
    It’s Brisseau's penchant for the flamboyantly perverse and the perversely flamboyant, however, that might have been best left secret.
    • 35 Metascore
    • 30 Marc Savlov
    At its core the film is as standardized as the exam it seeks to debunk, and nearly as tedious.
    • 30 Metascore
    • 30 Marc Savlov
    My advice? Grab Mr. Peabody’s Wayback Machine and recast with Jimmy Dean.
    • 37 Metascore
    • 30 Marc Savlov
    Just as clichéd as its predecessor, and lacks the old-school charm of films like "Wild Style" and "Breakin’."
    • 45 Metascore
    • 30 Marc Savlov
    Works just fine for the first half hour or so, but quickly devolves into a case of too much affection and not enough affliction.
    • 46 Metascore
    • 30 Marc Savlov
    The film itself is an effective enough metaphor for out-of-control bullshit that frankly, Koepp aside, was part and parcel of King’s novella from page 1.
    • 32 Metascore
    • 30 Marc Savlov
    Bad as it may be, though, the film falls that one precious inch shy of being quite so awful that it achieves cult status; in short, it's just not bad enough to be any good.
    • 66 Metascore
    • 30 Marc Savlov
    The emotions are turbocharged and the topic is eternally relevant, but that's not enough to save Two Girls and a Guy from being a whiny, snoozy bore.
    • 35 Metascore
    • 30 Marc Savlov
    Spottily directed and lacking the dubious merits of even the Friday the 13th franchise, this is one slasher film that should die a quick and lonely box-office death.
    • 53 Metascore
    • 30 Marc Savlov
    This might not matter so much to the youngest members of the audience, but for anyone over the age of 10, it’s strictly a colorful bore.
    • 41 Metascore
    • 30 Marc Savlov
    The script, written by the three brothers, is ludicrous and incomprehensible, and plays cat-and-mouse games with what could have been some deeply funny comments on race, wealth, and, in one inspired changing-room scene, eating disorders.
    • 44 Metascore
    • 30 Marc Savlov
    It's exasperating watching so much top-drawer talent wasted in a film that wraps itself up with one of the most preposterous (not to mention obvious) endings the genre has ever seen.
    • 35 Metascore
    • 30 Marc Savlov
    Fans of the video game will doubtless love it all but for true fans of the gnashing dead – and we count ourselves among them – this is strictly second-tier terror.
    • 46 Metascore
    • 30 Marc Savlov
    Saw
    Saw has its moments, and most of them are brutal in the extreme, but ultimately it's one tremendous misfire that will either leave you laughing or, possibly, gagging. Not what I'd call a winning combination.
    • 29 Metascore
    • 30 Marc Savlov
    Sitting through the film was an exercise in confusion.
    • 30 Metascore
    • 30 Marc Savlov
    Home may be where the heart is, but I kept wishing this poor silly girl would up and move.
    • 38 Metascore
    • 30 Marc Savlov
    At it's best, it's a wishy-washy treatise that fails to elicit much of any reaction.
    • 30 Metascore
    • 30 Marc Savlov
    There's not much more to this poorly scripted thriller than exactly one well-done shock moment and Michael Keaton's eyebrows, but, to be fair, Keaton's brows have carried three Tim Burton films nearly on their own, so don't let this dissuade you from seeing the film.
    • 54 Metascore
    • 30 Marc Savlov
    It's never wise to try to one-up a classic.
    • 35 Metascore
    • 30 Marc Savlov
    It all falls apart at the end, however, and in such a loud and abrasive way that it makes Brian De Palma's "Raising Cain" look like a model of restraint.
    • 55 Metascore
    • 30 Marc Savlov
    Crucial to the nature of the disaster film -- and something that Irwin Allen knew so very well -- is that films of this sort depend on an emotional hook, a peg of normalcy to hang the chaos from. Volcano offers no such hook, and as a result it plays like some La Brea dinosaur risen from the tar, all effects and no heart.
    • 30 Metascore
    • 30 Marc Savlov
    Indeed, the biggest acting coup here comes by way of Courtney Love, whose cameo as an obliging waitress is the best thing the film has going for it.
    • 54 Metascore
    • 30 Marc Savlov
    All we're left with is a second-rate J-Horror entry that bores rather scares.
    • 37 Metascore
    • 30 Marc Savlov
    10 times too much, a nonstop orgy of bullets, bombs, and booty that aims low and hits the bull’s-eye with enough firepower to sink the Bismarck.
    • 45 Metascore
    • 30 Marc Savlov
    Roughly as entertaining as watching your neighbor's kid's soccer game, not because you want to, but because you have to.
    • 31 Metascore
    • 30 Marc Savlov
    How much better this would have been had someone like Brian De Palma stepped behind the camera.
    • 62 Metascore
    • 30 Marc Savlov
    It's inoffensive and sports a positive "be yourself" message that’s obvious enough to be seen from space without benefit of hero-vision, but really, there's very little that's super about it.
    • 48 Metascore
    • 30 Marc Savlov
    Like the infamous Japanese water tortures of WWII, Dahl’s film is a steadily mounting series of pesky nonevents paced with all the frenetic, action-packed verve of a wounded lawn sprinkler.
    • 46 Metascore
    • 30 Marc Savlov
    Derrickson's staid direction, coupled with Wilkinson’s sad-sack priest and a general air of dreariness make for a courtroom thriller that’s somewhat less apocalyptic than the "L.A. Law" episode involving the death of Benny's mom.
    • 51 Metascore
    • 30 Marc Savlov
    Isn't teen heartache confusing enough without adding into the libidinal mix a bunch of buff scullers nicknamed the Queerstrokes?
    • 34 Metascore
    • 30 Marc Savlov
    Go for the gore (there's lots of it), but stay for the immortal line: "Now let's go find the body this arm belongs to."
    • 47 Metascore
    • 30 Marc Savlov
    The script, by Adam "Tex" Vegas, ricochets between over-earnest romantic comedy staples and a noticeable lack of any consistent tone for Reynolds’ character.
    • 45 Metascore
    • 30 Marc Savlov
    Its kooky hybrid of slapstick gender jokes already had whiskers on 'em in Shakespeare's day.
    • 45 Metascore
    • 30 Marc Savlov
    Sandler is a post-Catskills goldmine of potential, he always has been, and when he's willing to break with tradition (a là Punch Drunk Love), he's downright revelatory. Not this time, though. This time he's just dying.
    • 65 Metascore
    • 30 Marc Savlov
    Perhaps vice isn't what it used to be, or maybe Crockett and Tubbs just aren't all that interesting when removed from their appropriate time slot, but this may well be the dreariest and most monochromatic time you'll have at the movies all summer.
    • 52 Metascore
    • 30 Marc Savlov
    It takes so long to get going and fails to generate the necessary suspense to keep viewers engaged, that the horrific final act is too little, too late, while at the same time nearly being much too much.
    • 55 Metascore
    • 30 Marc Savlov
    There are moments in Idlewild that resonate with the painful "if only" of missed opportunity, and more than a few that just make you scratch your head. It's like some wildly overlong music video, minus the sexy thump 'n' grind. It's all blow, no pop.
    • 49 Metascore
    • 30 Marc Savlov
    Neither as adroitly funny as Franken's comic routines, nor as notable as his conversion to the fine art of politics, this is a 90-minute "What If?" with no discernible answer.
    • 49 Metascore
    • 30 Marc Savlov
    Forty-five minutes in, I was already glancing at my watch and wondering why the only lively actress in this film was playing the dead girl. Go figure.
    • 36 Metascore
    • 30 Marc Savlov
    Co-writers Don Calame and Chris Conroy utterly fail to notice the wealth of black-comedy gold inherent in the very notion of sprawling supercenters and instead go for the dumbest gags they can find.
    • 29 Metascore
    • 30 Marc Savlov
    Only good old Leatherface literally mirrors the festering cultural and political corruption of the era, and to the film's vast discredit, this hideous echo is never even noted.
    • 35 Metascore
    • 30 Marc Savlov
    Has all the sugar-injected horsepower of a 6-year-old on a Big Wheel.
    • 42 Metascore
    • 30 Marc Savlov
    It's no "Dellamorte Dellamore," but neither is it "Uwe Boll," a smallish favor we should all be thankful for.
    • 49 Metascore
    • 30 Marc Savlov
    It's a mess, and one that even the pickled cowboys behind me found yawningly tedious, and that's not something I ever thought I'd be saying about a Sam Raimi movie with the word “dead” in the title.
    • 45 Metascore
    • 30 Marc Savlov
    Relentlessly dull and curiously bombastic.
    • 38 Metascore
    • 30 Marc Savlov
    A mildly entertaining reworking of the Farrelly Brothers' superior micro-sport parody "Kingpin."
    • 52 Metascore
    • 30 Marc Savlov
    The Nines is the feature-film-directing debut from screenwriter John August (Go, Big Fish), but it feels much more like some Bizarro World collaboration between Jean-Paul Sartre and Charlie Kaufman, and not in a good way, either.
    • 49 Metascore
    • 30 Marc Savlov
    For the most part, this is strictly kiss kiss, bang bang, yawn yawn.
    • 33 Metascore
    • 30 Marc Savlov
    This South Korean pseudo-epic is some of the most ambitious cr-- I've ever seen.
    • 24 Metascore
    • 30 Marc Savlov
    House has a few moments that ring genuinely eerie, but the cluttered, unconvincing dialogue – not to mention Moseley's ongoing penchant for crazed overacting – make it more of a genre curiousity than anything the "Fangoria" gang would likely want to sit through.
    • 39 Metascore
    • 30 Marc Savlov
    Despite some briefly breathtaking, computer-generated special effects, Virtuosity is 95 minutes of unsubstantial firefights and meandering plot twists.
    • 33 Metascore
    • 30 Marc Savlov
    With a running time of 78 minutes, Awake is relatively painless, playing a little like a lesser story from one of EC Comics Shock SuspenStories – or a lot like Joseph Cotten's "Breakdown" episode of Alfred Hitchock Presents – updated for the Fangoria generation.
    • 32 Metascore
    • 30 Marc Savlov
    Far from perfect and about as much fun as a holiday in Cambodia, this is lightweight yuletide fluffery, offensive neither in tone nor spirit but entirely unnecessary.
    • 39 Metascore
    • 30 Marc Savlov
    Almost insufferably sufferable. It's a chick flick of the tallest order, with schmaltz galore and the sort of ongoing romantic hubris that practically screams, "This is codswallop, right?"
    • 41 Metascore
    • 30 Marc Savlov
    Much to my dismay this is not an unauthorized sequel to Abel Ferrara's 1979 East Village art-world freakout "Driller Killer." This is instead a dispiritingly mediocre tweener comedy from some very talented people who appear to be experiencing a delayed sophomore slump.