For 1,704 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 7.3 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Twelve Monkeys
Lowest review score: 0 The Fog
Score distribution:
1,704 movie reviews
    • 27 Metascore
    • 30 Marc Savlov
    Delgo is a dud.
    • 28 Metascore
    • 30 Marc Savlov
    It's all a bit of overkill.
    • 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.
    • 31 Metascore
    • 30 Marc Savlov
    How much better this would have been had someone like Brian De Palma stepped behind the camera.
    • 24 Metascore
    • 30 Marc Savlov
    I'm beginning to suspect there's some sort of ancient, or at least post-Pearl Harbor, curse in play that stops genre-oriented Asian filmmakers from creating anything of all but the most negligible merit once they hit the California shore.
    • 31 Metascore
    • 30 Marc Savlov
    An equally tired and wearisome buddy-cop movie that might as well be a forgotten leftover from the era of "Turner and Hooch." Now there's a film with classic Kevin Smith scrawled all over it.
    • 30 Metascore
    • 30 Marc Savlov
    My advice? Grab Mr. Peabody’s Wayback Machine and recast with Jimmy Dean.
    • 38 Metascore
    • 30 Marc Savlov
    A mildly entertaining reworking of the Farrelly Brothers' superior micro-sport parody "Kingpin."
    • 66 Metascore
    • 30 Marc Savlov
    In short, the character is a lot like the way Stan Lee first envisioned him, but the trilogy's screenwriter Steve Ditko would probably loathe this new, unsatisfying, and hollow-feeling entry into the new cinematic Marvel Universe.
    • 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.
    • 30 Metascore
    • 30 Marc Savlov
    Ultimately, it's a long, incoherent mess of a film, enlivened only by the sure knowledge that the great Will Eisner's original is available to one and all at your nearest comic-book shop.
    • 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.
    • 63 Metascore
    • 30 Marc Savlov
    A dead-chamber misfire, a hollowpoint dud.
    • 30 Metascore
    • 30 Marc Savlov
    Although it's great fun for the under-8 set and for those of us monitoring the chaos theory that is Nolte's career of late, this film is otherwise mediocre and features some of the most uninvolving 3-D CGI since "Clash of the Titans" earlier this year.
    • 35 Metascore
    • 30 Marc Savlov
    A 119-minute trailer.
    • 39 Metascore
    • 30 Marc Savlov
    Despite some briefly breathtaking, computer-generated special effects, Virtuosity is 95 minutes of unsubstantial firefights and meandering plot twists.
    • 56 Metascore
    • 30 Marc Savlov
    It works only sporadically, and more as a comic outing than as a vicious battle of sexual predation.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    By the time the closing credits roll, you're wondering if anyone else noticed that nothing made much sense.
    • 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.
    • 39 Metascore
    • 30 Marc Savlov
    Gondry's update of vigilante crime fighter The Green Hornet's escapades is above all an exercise in frustration.
    • 36 Metascore
    • 30 Marc Savlov
    The result is a somewhat functional blood feast for the exploitation crowd, but it's hardly a bead of sweat on the original's battered backside. Oh, and the score? Basil Poledouris' bombastic brass is still No. 1.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    For one thing, Seven Days in Utopia feels an awful lot like Victor Salva's 2006 New Age uplifter "Peaceful Warrior." That film at least had the appeal of watching Nick Nolte play Yoda, whereas here Duvall simply seems to be playing Duvall.
    • 58 Metascore
    • 30 Marc Savlov
    You come away from Splinter feeling it would have made a far more effective short than the feature-length drag it is.
    • 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.
    • 49 Metascore
    • 30 Marc Savlov
    For the most part, this is strictly kiss kiss, bang bang, yawn yawn.
    • 37 Metascore
    • 30 Marc Savlov
    About as thrilling as cleaning out your garage.
    • 42 Metascore
    • 30 Marc Savlov
    Why remake Craven's original at all? Oh, yeah, I forgot: Reheated depravity sells. To avoid existential despair, keep repeating: It's only a remake; it's only a remake; it's only a remake.
    • 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.
    • 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
    Sporadically funny, the film seems weighted down, literally, with bulging, bulbous Murphys flatulating endlessly.
    • 26 Metascore
    • 30 Marc Savlov
    It's not a great action dust-up by any means.
    • 29 Metascore
    • 30 Marc Savlov
    The Collector feels like the final, welcome nail in the bizarrely popular torture-porn coffin.
    • 35 Metascore
    • 30 Marc Savlov
    Has all the sugar-injected horsepower of a 6-year-old on a Big Wheel.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 24 Metascore
    • 30 Marc Savlov
    An exercise in unintentional farce.
    • 37 Metascore
    • 30 Marc Savlov
    It pains me to say it, but Afterlife, the latest installment in this seemingly eternal zombie apocalypse franchise, is considerably more entertaining than George A. Romero's most recent exhumation.
    • 30 Metascore
    • 30 Marc Savlov
    For fans, however, Saw VI is, pardon the pun, a cut above the rest but not, sadly, by much.
    • 20 Metascore
    • 30 Marc Savlov
    Truly, the greatest torture of all is boredom.
    • 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.
    • 44 Metascore
    • 30 Marc Savlov
    It is, in a word or two, everything that Poe's tales and poems were not: interminable and picayune.
    • 49 Metascore
    • 30 Marc Savlov
    It's mediocrity at its most unremarkable.
    • 44 Metascore
    • 30 Marc Savlov
    It's a testament to Bill Nighy's cadaverous panache that this third entry in the ongoing exsanguinators vs. lycanthropes franchise (that's vampires and werewolves to anyone not weaned on Famous Monsters) is as tolerable as it is.
    • 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.
    • 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.
    • 40 Metascore
    • 30 Marc Savlov
    At its core, a very manipulative piece of work.
    • 12 Metascore
    • 30 Marc Savlov
    This new film version, sad to say, is a hollow shell of the original series.
    • 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.
    • 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.
    • 49 Metascore
    • 30 Marc Savlov
    West (Con Air) saturates his imagery in a sickly, sulphurous stew of rotten-egg yellows and oranges, making a mediocre picture downright repellent at times.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    Just as clichéd as its predecessor, and lacks the old-school charm of films like "Wild Style" and "Breakin’."
    • 42 Metascore
    • 30 Marc Savlov
    Yeah, this movie's a dog, but you can't blame the producers for strip-mining the same old fool-proof formula to death … and beyond.
    • 40 Metascore
    • 30 Marc Savlov
    While the totality of Jupiter Ascending is just too much for its own massive narrative heft to support, kudos to the Wachowskis for beating back against mainstream Hollywood by casting actors of all races and genders in key roles, something they’ve been doing since their 1996 debut "Bound."
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    War, Inc. is neither all that interesting nor all that cool.
    • 36 Metascore
    • 30 Marc Savlov
    A dull, tired mess.
    • 37 Metascore
    • 30 Marc Savlov
    While it’s possible that Annabelle might give a few audience members goosebumps, anyone who’s ever seen "Rosemary’s Baby" –or pretty much any film James Wan’s had a hand in since helming 2007’s "Dead Silence", the "Saw" franchise excepted – will figure out what’s going on within the first 30 minutes.
    • 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.
    • 40 Metascore
    • 30 Marc Savlov
    Another addition to Universal’s Pictures Classic Monsters arsenal of crap (remember Van Helsing?), director Shore, in his feature debut, displays a fine sense of pacing but little else.
    • 45 Metascore
    • 30 Marc Savlov
    Its kooky hybrid of slapstick gender jokes already had whiskers on 'em in Shakespeare's day.
    • 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.
    • 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?"
    • 63 Metascore
    • 30 Marc Savlov
    Consider this yet another nail in the Eighties coffin.
    • 52 Metascore
    • 30 Marc Savlov
    Can barely limp to its final CinemaScope sunset shot.
    • 41 Metascore
    • 30 Marc Savlov
    The result is a goofy-weird mishmash of some pretty swell CGI creatures and some downright lousy screenwriting.
    • 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?
    • 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.
    • 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.
    • 55 Metascore
    • 30 Marc Savlov
    A character-driven piece with a character who seems somewhat hollow.
    • 37 Metascore
    • 30 Marc Savlov
    I've always said, "If you've seen one god, you've seen them all," and Wrath of the Titans only serves to underscore my point.
    • 53 Metascore
    • 30 Marc Savlov
    On the not-much-of-a-plus side, at over two hours long, sitting through The Book Thief engenders in the viewer some serious sympathy for the interminable plight of poor, sickly Max, concealed below stairs in a dank, dark corner of the house on Himmelstrasse.
    • 49 Metascore
    • 30 Marc Savlov
    A godforsaken (possibly literally) mess.
    • 34 Metascore
    • 30 Marc Savlov
    The Happening is both too incoherenly weird and too narratively ambitious for its own good.
    • 32 Metascore
    • 30 Marc Savlov
    Ends up as little more than a recursive footnote to the infinitely better up-all-night teen comedies of, you guessed it, John Hughes.
    • 22 Metascore
    • 30 Marc Savlov
    The creature’s big reveal is masterfully handled and a final revelation is exceptionally memorable, but the characters, unsurprisingly, remain interchangeable with those of any number of other teens-in-peril pics.
    • 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.
    • 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.
    • 42 Metascore
    • 30 Marc Savlov
    The real problem with this Aliens encounter is that it's patently a Nick at Night midweek movie that inadvertently got greenlighted for a big-screen opening.
    • 44 Metascore
    • 30 Marc Savlov
    "When you race with the devil, you'd better be fast as hell." (And you, angry driver, are not that fast.)
    • 19 Metascore
    • 30 Marc Savlov
    An inoffensive, eminently forgettable bit of fluff.
    • 49 Metascore
    • 30 Marc Savlov
    The bottom line with the film is that there's just no damn mystery about it.
    • 35 Metascore
    • 30 Marc Savlov
    Barely even worthy of a straight-to-video release, as simplistic and silly as it is.
    • 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.
    • 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.
    • 25 Metascore
    • 30 Marc Savlov
    It’s really just a tortuous series of blackout sketches hung together with the flimsiest of threads.
    • 32 Metascore
    • 30 Marc Savlov
    This time out, the action is in 3-D, which amounts to a few shots of flaming motorcycle parts comin' at ya, but little else.
    • 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.
    • 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.
    • 37 Metascore
    • 30 Marc Savlov
    The finished product is as predictably dull as a newborn's soft spot.

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