For 1,654 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 7.2 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
Average review score: 52
Highest review score: 100 Apocalypse Now
Lowest review score: 0 The Bounty Hunter
Score distribution:
1,654 movie reviews
    • 90 Metascore
    • 100 Marc Savlov
    One of the 10 best films ever made, period.
    • 90 Metascore
    • 100 Marc Savlov
    Such gorgeous explosions, such a terrible vision, such an amazing work of art. Go. Now.
    • 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.
    • 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.
    • 85 Metascore
    • 89 Marc Savlov
    Loud, hilarious, and enormously entertaining, 24 Hour Party People makes you want to toss current FM radio out on its pre-fab, corporate-sponsored backside. And not a moment too soon.
    • 79 Metascore
    • 89 Marc Savlov
    It's an audacious, affecting, and unexpectedly hilarious debut, and most definitely the most original film I've seen all year.
    • 90 Metascore
    • 89 Marc Savlov
    Wildly entertaining, "Shakespeare in Love" minus the Bard and the babe, but with substantive style to burn.
    • 79 Metascore
    • 89 Marc Savlov
    The images this war photographer shoots are beyond awful, but there's just no looking away.
    • 77 Metascore
    • 89 Marc Savlov
    So upbeat it might as well arrive on a sunbeam.
    • 68 Metascore
    • 89 Marc Savlov
    Sellbinding, distressing, and possessed of a dark and terrible beauty.
    • 75 Metascore
    • 89 Marc Savlov
    New and amazing -- it takes you back to the days when French filmmaking and French filmmakers were the darlings and saviors of the cinematic cutting edge. It's a great film, simply told, and a pleasure to watch.
    • 75 Metascore
    • 89 Marc Savlov
    Kempner's documentary is a streamlined, gorgeous piece of work, full of revelations of time, place, and person.
    • 59 Metascore
    • 89 Marc Savlov
    Nearly a perfect film, from its bold and epic man-vs.-nature conflict to the breathless scripting, editing, acting, and direction.
    • 78 Metascore
    • 89 Marc Savlov
    Seems more like a subtle, elegiac tone poem than an indictment of human banality and the evil that men do.
    • 71 Metascore
    • 89 Marc Savlov
    More emotionally complex than even I had thought possible, Chasing Amy is the sound of burgeoning genius on the fast track to maturity.
    • 61 Metascore
    • 89 Marc Savlov
    Cooly feral in dark suit and tie, Glover’s the man in the gray flannel suit gone way, way over the edge, and it’s one of the most fully realized screen performances in ages, rats and all.
    • 83 Metascore
    • 89 Marc Savlov
    For those willing to submit to its terrible charms, it may be the single most important debut to come out of the Americas in years.
    • 77 Metascore
    • 89 Marc Savlov
    Pollock is that rare breed, a biopic that makes you want to learn more about its subject, as much as you can, as fast as you can.
    • 83 Metascore
    • 89 Marc Savlov
    While it’s perhaps not the best date film of the year, it is a grim and unmistakable masterpiece of bleak, black sorrow.
    • 72 Metascore
    • 89 Marc Savlov
    Absolutely unlike any documentary you’ve ever seen, Step Into Liquid nearly qualifies as a religious experience.
    • 90 Metascore
    • 89 Marc Savlov
    Remarkably fresh and exciting.
    • 74 Metascore
    • 89 Marc Savlov
    Absolutely harrowing, shocking in its sudden revelatory immediacy, and very, very well done, Black Hawk Down is one of the best depictions of the outright lunacy inherent to battle I have ever seen.
    • 68 Metascore
    • 89 Marc Savlov
    One of Jordan's best films, and almost certainly in Nolte's top two percentile.
    • 70 Metascore
    • 89 Marc Savlov
    Just plain unforgettable.
    • 78 Metascore
    • 89 Marc Savlov
    As fluid and intellectually stimulating as the man himself, a tragic, heartfelt take on an event some 40 years old that feels as fresh as yesterday's Times.
    • 88 Metascore
    • 89 Marc Savlov
    God forbid this should ever play on an IMAX screen -- the concussive soundtrack and relentless visuals would likely strike viewers deaf and blind (but what a way to go!). Simply breathtaking.
    • 76 Metascore
    • 89 Marc Savlov
    That they were just hormonally blitzkrieged kids at the time, unaware of their role in history, only makes Peralta's superior doc that much more winning.
    • 85 Metascore
    • 89 Marc Savlov
    Szpilman takes to performing sonatas in thin air, eyes closed, those jittery fingers stroking nothing but air. It's a wonderful moment in a wonderful, ghastly film, and one of the most moving arguments for the redemptive powers of art ever made.
    • 75 Metascore
    • 89 Marc Savlov
    By the time the explosive finale arrives (with a wistful Ray Charles crooning over shots of cataclysmic destruction, no less), you'll be hard pressed to name a recent film with this much action, pathos, and smarts.
    • 69 Metascore
    • 89 Marc Savlov
    Audition's take on the war between the sexes is bleak and almost entirely devoid of hope. --It's enough to make you give up dating altogether.
    • 70 Metascore
    • 89 Marc Savlov
    Like a car crash in slo-mo, it's a riveting, beautiful mess.
    • 85 Metascore
    • 89 Marc Savlov
    Clearly the single best, the single coolest (to borrow from Harry Knowles) animated film in a great while.
    • 71 Metascore
    • 89 Marc Savlov
    This is what great dialogue -- and by extension great movies -- is made of.
    • 85 Metascore
    • 89 Marc Savlov
    An immersion into the characters' world in toto, from the "Oh geezes" and the "Oh, yaahs" to the dark and flinty core beneath.
    • 73 Metascore
    • 89 Marc Savlov
    So full of good stuff that it's impossible not to fall in love with it.
    • 75 Metascore
    • 89 Marc Savlov
    About a Boy knows exactly what it wants to do: It wants to make you smile, and grin, and then laugh with recognition, and it manages all three, again and again.
    • 76 Metascore
    • 89 Marc Savlov
    Everything about this swift and gorgeous and tremendously enjoyable film is played out in a rush of staccato edits, crisp performances, and charmingly giddy subplots that coalesce into Spielberg's most purely entertaining movie in years.
    • 71 Metascore
    • 89 Marc Savlov
    At once emotionally charged and genuinely, disconcertingly surreal...a marvel of subdued, genuine filmmaking.
    • 70 Metascore
    • 89 Marc Savlov
    Fresh and raw like a blown-out vein, Narc takes a walking-dead, cop-flick subgenre and beats new life into it.
    • 87 Metascore
    • 89 Marc Savlov
    Feels brief and dreamlike. Waking from its spell, you touch your face, and it's wet, but you're smiling anyway.
    • 80 Metascore
    • 89 Marc Savlov
    At times poignant, joyful, and terrifying, Shawshank Redemption is an altogether brilliant movie and the debut of an equally brilliant director.
    • 68 Metascore
    • 89 Marc Savlov
    An altogether more viscerally engaging film, from its relentless pacing and slam-bang effects work to the fine, appropriately heroic score by John Ottman. That the movie has an obvious gay subtext neither adds nor detracts from the film’s smashing popcorn appeal.
    • 86 Metascore
    • 89 Marc Savlov
    It's a thrilling, powerful movie, and one that certain people in certain quarters may have at one time called dangerous. Some of them may yet still.
    • 62 Metascore
    • 89 Marc Savlov
    Piglet, your time has arrived. Sooth us.
    • 59 Metascore
    • 89 Marc Savlov
    The Princess Blade opens with one of the most note-perfect action sequences ever committed to film.
    • 92 Metascore
    • 89 Marc Savlov
    This is high fantasy of the best kind.
    • 86 Metascore
    • 89 Marc Savlov
    Filled with brilliant, stand-out performances.
    • 55 Metascore
    • 89 Marc Savlov
    Snatch is nothing if not watchable: It has the insane, popcorn rhythms of a Road Runner cartoon, and for that reason alone it's a minor masterpiece.
    • 86 Metascore
    • 89 Marc Savlov
    A brilliant, exhilarating piece of filmmaking. It may even be the best mainstream film of the year thus far.
    • 90 Metascore
    • 89 Marc Savlov
    A bitter, bloody masterpiece with adrenalized emotions and hyper-realized images, this is perhaps as close to battle as any sane human being should ever hope to tread.
    • 66 Metascore
    • 89 Marc Savlov
    A crazed, lovestruck, wholly original (and yet amazingly referential) beast, part pop-culture wasteland, part glowing tribute, and part wild-eyed roller coaster (of love).
    • 94 Metascore
    • 89 Marc Savlov
    Fiercely original in every respect.
    • 66 Metascore
    • 89 Marc Savlov
    Fight Club's dirty little secret is it's one of the best comedies of the decade.
    • 66 Metascore
    • 89 Marc Savlov
    With such a frenetic, brain-melting load of images to ponder, it's easy to forget that there are also some terrific actors at work here, not the least of whom is the amazing Vinnie Jones.
    • 72 Metascore
    • 89 Marc Savlov
    That Aimée & Jaguar manages so well in triple duty as a wartime melodrama with a lesbian twist is remarkable.
    • 90 Metascore
    • 89 Marc Savlov
    Pixar's Finding Nemo may well have the best casting of any animated film of the past 30-odd years.
    • 79 Metascore
    • 89 Marc Savlov
    Castle-Hughes and Paratene are nothing short of remarkable in their roles.
    • 74 Metascore
    • 89 Marc Savlov
    A spare, discomfiting score and uniformly excellent performances, and you have a quiet little masterpiece of dark and chilling beauty.
    • 82 Metascore
    • 89 Marc Savlov
    As far from "Slacker" as you could possibly get and still be using a motion-picture camera, The School of Rock is nonetheless pure Linklater, pure rock & roll, and pure fun. Gabba, gabba, hey!
    • 81 Metascore
    • 89 Marc Savlov
    McCarthy’s film is rich in tone and subtlety, but has precious little dialogue. It feels less like a modern motion picture than some odd poem long lost and then discovered in another age, a timeless, ageless gem of hard-resined emotions melting into real life.
    • 84 Metascore
    • 89 Marc Savlov
    Mystic River asks plenty of questions but rarely if ever offers any answers, and certainly no easy ones. If this fine and sorrowful film is what can be expected from our aging cinema icons, here’s to the golden years, dark though they may be.
    • 69 Metascore
    • 89 Marc Savlov
    Don’t leave until the final credits finish rolling or you’ll miss what many are considering Kill Bill: Vol. 1’s best bit. Trust us on this one.
    • 83 Metascore
    • 89 Marc Savlov
    Far from being atypical, the events of June 12 and the litany of tiny nightmares that led up to that day are brutally obvious.
    • 70 Metascore
    • 89 Marc Savlov
    Wisely, a lot like the real event. No answers are given, barely any questions are asked, and the film unfolds at a leisurely, inexorable pace that stymies the traditional filmmaking tropes of tension and release.
    • 81 Metascore
    • 89 Marc Savlov
    As riveting as a documentary can possibly be, this slim (74-minute) film is also one of the most politically aware films of the year.
    • 68 Metascore
    • 89 Marc Savlov
    An antidote to holiday cheer like no other, this French tale of psychological horror is as harsh as they come -– it’s like finding a severed finger in your stocking and then finding it’s even better with hollandaise.
    • 83 Metascore
    • 89 Marc Savlov
    Osama begins in fear and ends in terror. In between there's all manner of hopelessness, deprivation, and death, which is to say that as the first film to come out of a post-Taliban Afghanistan, it's practically a documentary.
    • 82 Metascore
    • 89 Marc Savlov
    This is nobody's idea of a happy family story, but it is a pristinely chilling depiction of familial meltdown in a post-Stalinist, Twilight Zone anti-place, the dark heart of heartlessness and mysterious parenting techniques.
    • 86 Metascore
    • 89 Marc Savlov
    One of the most suspenseful films of all time, its wartime action setting makes it easy to forget it's also one of the most spiritually righteous. [Director's Cut]
    • 71 Metascore
    • 89 Marc Savlov
    "Always be good to rock and roll and it will always be good to you," the film quotes Phil Spector as saying, and a more fitting explanation of the Bingenheimer mystique you'll likely never find.
    • 56 Metascore
    • 89 Marc Savlov
    As we are informed in the film’s prologue, "Cats live in loneliness, then die like falling rain." Sh--, man, whatever. This is so stupid it’s positively genius.
    • 73 Metascore
    • 89 Marc Savlov
    By far the most gorgeous slice of sunlit sadism so far this summer, I’m Not Scared also manages to be oddly sweet: a boy’s life, with treachery.
    • 82 Metascore
    • 89 Marc Savlov
    This is a determined, resolutely paced, and atypical samurai movie, more an epic of the heart than of the battlefield, and all the more powerful for it.
    • 79 Metascore
    • 89 Marc Savlov
    Riveting, and frankly it's great fun to see Leth best the smirky von Trier five times running.
    • 77 Metascore
    • 89 Marc Savlov
    The bulk, the heft, and the girth of Bukowski: Born Into This arrives in the form of the author himself, giving beery readings to Berkeley audiences clearly enjoying a contact high or sitting, ill-kempt but quiet, pensive, Heineken in one yellowy paw, in his apartment.
    • 68 Metascore
    • 89 Marc Savlov
    It's a keeper, a tumultuous love story set against the backdrop of 24 hours of really, really inclement weather in the Oklahoma heartland.
    • 83 Metascore
    • 89 Marc Savlov
    Love, death, hope, and hatred: Spider-Man 2 has ’em all, in spades.
    • 87 Metascore
    • 89 Marc Savlov
    This may be the first film to examine the intricacies of the Colombia-to-U.S. drug route in any detail.
    • 57 Metascore
    • 89 Marc Savlov
    A wholly original creation, crossed with shadows and light and the everyday madness of Savannah and its remarkable citizens.
    • 48 Metascore
    • 89 Marc Savlov
    Shimuzu sees darkened staircases and hears the rustle of dead autumn leaves and reacts as if from the devil’s own haiku. And his dread is catching.
    • 64 Metascore
    • 89 Marc Savlov
    Casting is everything, and the casting of Stallone -- playing way against type -- as the powerless hayseed sheriff in Cop Land is nothing short of inspired.
    • 67 Metascore
    • 89 Marc Savlov
    There's even a Simon and Garfunkel tune on the soundtrack, which makes Braff's character seem like the only living boy in New Jersey, which, of course, he may well be. L'chaim!
    • 57 Metascore
    • 89 Marc Savlov
    Cyberpunk meets renegade romance, à la Orwell.
    • 74 Metascore
    • 89 Marc Savlov
    You can't help but feel conflicted watching this superb documentary about the seminal New York-based punk rock vanguard, the Ramones.
    • 64 Metascore
    • 89 Marc Savlov
    The most costly and the most popular film in South Korean history is also one of the most gripping and epic war films ever made, and certainly the only one I can think of the portrays the Korean war from the viewpoint of both sides of the conflict.
    • 64 Metascore
    • 89 Marc Savlov
    Everything here from costuming and production design to the note-perfect score from Edward Shearmur works in tandem to create not so much a film as a singular and joyous tribute to a vanished age when wonder only cost a nickel and played three time daily at the Bijou.
    • 76 Metascore
    • 89 Marc Savlov
    The most original comedy from either side of the pond in years.
    • 64 Metascore
    • 89 Marc Savlov
    Niccol's futuristic fable is a gorgeous construct, from its cast on down to the brilliant, clinical nature of the set design that reflects a future in which even a particle of saliva can be one's undoing.
    • 78 Metascore
    • 89 Marc Savlov
    As concert films go, this is heady stuff.
    • 65 Metascore
    • 89 Marc Savlov
    Closer is an un-love story as honest and naked as Cupid in the devil's dock, the whole truth, and nothing but.
    • 90 Metascore
    • 89 Marc Savlov
    An order-of-magnitude leap forward in animated storytelling.
    • 65 Metascore
    • 89 Marc Savlov
    An unexpected classic.
    • 52 Metascore
    • 89 Marc Savlov
    This is horror with a wink and a nod to drive-in theatres and sweaty back seats. This is how it's done.
    • 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.