For 1,716 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 7.7 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Kung Fu Hustle
Lowest review score: 0 Date Movie
Score distribution:
1,716 movie reviews
    • 58 Metascore
    • 50 Marc Savlov
    An excellently cast biopic about yet another self-destructive genius who burnt out but will never fade away – at least not in France, or wherever cigarettes, alcohol, and sex are still allowed.
    • 58 Metascore
    • 50 Marc Savlov
    Ultimately, it's undone by the overfamiliar nature of Doon and Lina's quest, the outcome of which, while breathlessly paced, is never really in question.
    • 53 Metascore
    • 50 Marc Savlov
    It's a 24-hour-party-people travelogue, entertaining enough to grab your eyes... but less memorable than it may at first appear.
    • 68 Metascore
    • 50 Marc Savlov
    Breathtakingly gorgeous but ultimately thematically unsatisfying.
    • 64 Metascore
    • 50 Marc Savlov
    It's a loud, obnoxious, and pleasant-enough entertainment, but hardly the soaring tale of one man's struggle that it was so clearly envisioned to be.
    • 62 Metascore
    • 50 Marc Savlov
    Arguably better than the last five Eddie Murphy films taken together, The Nutty Professor still seems to be playing down to its audience much of the time, though you'd never know it to hear the gales of laughter erupting at the screening I attended.
    • 52 Metascore
    • 50 Marc Savlov
    Suffice to realize that Reeves’ opening salvo is an ambitious and heady mix of the glorious (if overtold) past, the tense present, and the imperfectly perfect realm of Chen’s fighter, his conscience, and blow upon blow upon blow. The concoction works, despite – or maybe because of – its unjaded, fantastical familiarity
    • 75 Metascore
    • 50 Marc Savlov
    Fernandez is excellent as the maladjusted daughter, but the film's heart and soul is embodied in Galina's noble, understated performance.
    • 42 Metascore
    • 50 Marc Savlov
    Pass the popcorn, dude; this shit rocks.
    • 48 Metascore
    • 50 Marc Savlov
    Certainly it's not for everyone, but fans of Euro-sleaze will groove on Argento's obvious charms and the film's dystopian thrill ride, while the rest will probably doze off dreaming Fassbinder dreams.
    • 62 Metascore
    • 50 Marc Savlov
    5x2
    Ozon's take on this marriage in particular is notable – apart from Freiss and Bruni-Tedeschi's bracing performances – for his unwillingness to let things spiral out of complete control.
    • 49 Metascore
    • 50 Marc Savlov
    You get the feeling the filmmakers didn't want to make anyone think too hard about what's going on here behind the scenes of the main storyline, and that's more than a little insulting.
    • 51 Metascore
    • 50 Marc Savlov
    It's hit-or-miss comedy of the very broadest sort, but those who groove on deciphering obscure film-geek in-jokes will find their work more than cut out for them.
    • 48 Metascore
    • 50 Marc Savlov
    Consistently entertaining, athletically brutal, and, more often than not, well-acted.
    • 71 Metascore
    • 50 Marc Savlov
    Like the inky void of space, there's really not much here, but what there is, is certainly entertaining.
    • 65 Metascore
    • 50 Marc Savlov
    Flawed at its core but stunning nonetheless.
    • 59 Metascore
    • 50 Marc Savlov
    Truth is, once again, stranger and far more interesting than fiction, but Stewart, whose youthful idealism makes for passionate but uneven filmmaking, should scuttle further oceanic pedantry and focus his lens on Watson's "good pirate" efforts to sabotage the "bad pirates" and save the sea.
    • 62 Metascore
    • 50 Marc Savlov
    As a vehicle for Moore's acting abilities (and Mortensen's, for that matter), G.I. Jane is terrific. But as the end-of-summer blockbuster it's doubtless intended to be, it's pretty much a washout.
    • 52 Metascore
    • 50 Marc Savlov
    Lynch, who penned the screenplay with novelist Barry Gifford (Wild at Heart), seems to be attempting to capture not just a sense of place and time (it never works -- Lost Highway is wholly, irrevocably, out of place and without any linear time or time line to speak of), but also a sense of madness.
    • 41 Metascore
    • 50 Marc Savlov
    Forster should be commended for attempting something as daunting as the overreaching Stay, which despite all of its muddled logic and porous reality – or perhaps because of it – forces you to think, a genuine rarity these days.
    • 45 Metascore
    • 50 Marc Savlov
    Jorgen Persson's camerawork is spectacular, illuminating the cobalt blue of the frozen wastes with an almost regal air. As a travelogue, August's film works wonders; as a narrative, it's just not all there.
    • 34 Metascore
    • 50 Marc Savlov
    Despite the movie’s lack of anything resembling a narrative center, Testosterone isn't an entire waste of film stock – Sutcliffe, Sabato Jr., and especially the great Braga all act up a storm.
    • 33 Metascore
    • 50 Marc Savlov
    54
    It's a noble effort, but aficionados and the mildly interested are recommended to seek out VH-1's excellent Studio 54 documentary in lieu of this shallow morality play.
    • 63 Metascore
    • 50 Marc Savlov
    As a period mystery, however, it's as muddy and swirling as the actual record of that fateful, deadly weekend cruise.
    • 75 Metascore
    • 50 Marc Savlov
    Dahl, who really does know what he's doing when it comes to investing a scene with both heebies and jeebies, is a notch or two above most.
    • 66 Metascore
    • 50 Marc Savlov
    Looks like a million bucks (or rather, a million bucks gone to compost), but at its dark heart it's a tedious, bewildering affair, lovely to look at but with all the substance of a dissipating dream.
    • 53 Metascore
    • 50 Marc Savlov
    Gratuitous in every sense of the word, this second remake of 1978's Joe Dante-directed/Roger Corman-produced "Jaws" knockoff is ridiculous summertime drive-in fun.
    • 74 Metascore
    • 50 Marc Savlov
    For a film focusing on such a rich emotional tapestry, Kundun is strangely lacking in its emotional core.
    • 59 Metascore
    • 50 Marc Savlov
    The film is one of the more adult offerings out there in a spring movie season peppered with martial arts and superheroes. It may be just what you're looking for.
    • 63 Metascore
    • 50 Marc Savlov
    The catch is, once you get past the stunning special effects and the mind-numbing stuntwork, there's not all that much there.
    • 65 Metascore
    • 50 Marc Savlov
    Who, exactly, is stalking whom, and for what reason? I'm still not entirely sure, but Resnais' funky, frothy bonbon of a film is nevertheless a breathtaking sight to see.
    • 62 Metascore
    • 50 Marc Savlov
    All this and not a glimmer of General Franco makes for a surreal – and sporadically inspired – comedy of Spanish mores back when naughty was nice.
    • 40 Metascore
    • 50 Marc Savlov
    Above all, there's Nolte, who hovers over the whole production like some sapient force of nature.
    • 62 Metascore
    • 50 Marc Savlov
    Severance is a British horror-comedy that, from the get-go, has two distracting strikes against it.
    • 46 Metascore
    • 50 Marc Savlov
    Silly, predictable, and, dare I say it, oddly endearing, Hackers is the first film I've seen in a long while that annoyed me so much I actually enjoyed it.
    • 52 Metascore
    • 50 Marc Savlov
    Infinitely more entertaining than anything the WWE has done recently, this sophomore outing from "Napoleon Dynamite" director Hess is full of cheesy goodness, but it's Velveeta.
    • 58 Metascore
    • 50 Marc Savlov
    A go-for-the-lowest-common-denominator grab bag of raunchy sex gags and freakish outbursts. The cool thing is that it works.
    • 70 Metascore
    • 50 Marc Savlov
    Once the rodeo's over, where do the sweethearts go? Beesley, thankfully, doesn't end the film with the end of the rodeo, but there's a potentially more interesting follow-up doc ghosting right behind this one.
    • 53 Metascore
    • 50 Marc Savlov
    An occasionally charming mix of campy fun and dodgy computer-generated effects.
    • 46 Metascore
    • 50 Marc Savlov
    It seems downright unfair to harp on the remake’s differences from the original when both films are having such a ball.
    • 66 Metascore
    • 50 Marc Savlov
    Truth itself is little more than a word in The Prestige, a film that both celebrates the wonder of being fooled and the foolishness of wanting just that.
    • 63 Metascore
    • 50 Marc Savlov
    Invincible is like a thick, sweaty slab of NFL comfort food.
    • 88 Metascore
    • 50 Marc Savlov
    If you (or your kids) loved Toy Story, you'll like Toy Story 2 as well. Just don't expect any big surprises.
    • 55 Metascore
    • 50 Marc Savlov
    To call The Crazies the most original horror film in a long while only serves to point out just how lousy mainstream, studio-released horror has become. It's a solid thriller, sure, but there's precious little in it that hasn't been seen countless times before, and in the end it plays it safe … by not playing it safe.
    • 36 Metascore
    • 50 Marc Savlov
    Director Carr, who helmed the similarly predictable "Daddy Day Care," keeps things moving, both on and off the court, with the sort of light, sweet humor you're not likely to find in too many other summer movies.
    • 43 Metascore
    • 50 Marc Savlov
    Bombastic it may be, but it’s rarely boring, as was the first Tomb Raider. Keep your expectations in line with the source material and you may be pleasantly surprised.
    • 64 Metascore
    • 50 Marc Savlov
    Both interesting and insufferable.
    • 52 Metascore
    • 50 Marc Savlov
    It's the opposite of "The Opposite of Sex," a meditation on multiple truths, and the lies that sometimes lie in between.
    • 54 Metascore
    • 50 Marc Savlov
    Wilson and Beckinsale, as the couple on the rocks, do their damnedest to go along for the creepfest, but nothing in Vacancy manages to come anywhere close to the quiet and steadily mounting dread of the real thing, much less the purview of Norman Bates or his beloved mother.
    • 74 Metascore
    • 50 Marc Savlov
    Ultimately the composition comes off as both overplayed and underdone.
    • 61 Metascore
    • 50 Marc Savlov
    It's not a bad movie by any stretch of the imagination, just one that grabs your attention and then lets it go, time and time again.
    • 60 Metascore
    • 50 Marc Savlov
    Manages to get by on wry smarts, barbed asides, and plenty of Barrymore's comic grace.
    • 56 Metascore
    • 50 Marc Savlov
    The Coen brothers’ newest is an odd amalgam of tics and stutters that plays like something of a greatest-hits reel but never seems to jell into a real comedy.
    • 63 Metascore
    • 50 Marc Savlov
    The comedic success of this pair of dramatic archetypes, the radiant flibbertigibbet and the gray, lumpen elder spinster, in a lightweight bit of piffle such as this is a testament to both Adams' and McDormand's smarts. It's tough to play dumb when you're not and even more difficult to dial down your own innate brilliance.
    • 65 Metascore
    • 50 Marc Savlov
    Ultimately, though, We Were Soldiers fails to bring as much to the table as it at first seems it might.
    • 48 Metascore
    • 50 Marc Savlov
    Pop psychology has never been as visceral as it is in Saw III.
    • 65 Metascore
    • 50 Marc Savlov
    It's a promising epic that ends with what feels like a lie. In short, it's a glorious mess well worth seeing, but light-years away from what fans were expecting.
    • 64 Metascore
    • 50 Marc Savlov
    Fans of the irritatingly limp and relatively toothless Twilight series may actually find their tormented inner selves fondled to exquisite, precoital perfection with this slick and gleeful adaptation of the classic Eighties vampire-next-door flick.
    • 74 Metascore
    • 50 Marc Savlov
    By the time the film's abrupt conclusion arrives, you realize you've been watching a love story and not, as some might hope, "The Lord of the Rings: The Asian Edition."
    • 64 Metascore
    • 50 Marc Savlov
    Tykwer ends the film on a bizarre note that caught me off guard, a too-literal bit of salvation that is more bothersome than revelatory.
    • 68 Metascore
    • 50 Marc Savlov
    A cracking good adventure film well worthy of classic Saturday-afternoon matinee status. It's also, in myriad ways, a more youthful version of Spielberg's "Raiders of the Lost Ark."...What you don't have, however, is a great movie.
    • 49 Metascore
    • 50 Marc Savlov
    It’s not a disaster by any stretch, but purists will ache to show newcomers the horrific genius of "Ju-on" over The Grudge as soon as they exit the theatre.
    • 61 Metascore
    • 50 Marc Savlov
    It also has wild plot holes and requires an almost inhuman suspension of disbelief, but it's still a fun ride up to a point.
    • 75 Metascore
    • 50 Marc Savlov
    Spy
    This is a different sort of comedy that more or less succeeds on its own terms, despite that fact that you find yourself rooting for the post-Snowden CIA.
    • 71 Metascore
    • 50 Marc Savlov
    Beyond the Gates bears witness to the worst of the worst, but these days, and far more importantly, so does YouTube.
    • 66 Metascore
    • 50 Marc Savlov
    There's nothing terribly bad about Bend It Like Beckham -- in fact it's a fine Friday-night-out film -- it's just that it strikes me as being an awful little piffle cloaked in the garb of something so much more.
    • 52 Metascore
    • 50 Marc Savlov
    Miner strives to imbue the film with the requisite autumnal haze of the original but then gives up midway through and instead resorts to the standard stalk 'n' slash formulas.
    • 40 Metascore
    • 50 Marc Savlov
    For some reason Derailed never fully engages our sympathies. I think that's because it's difficult to swallow Owen as anything other than eminently resourceful.
    • 37 Metascore
    • 50 Marc Savlov
    Hoge's film raises more questions than it answers – that's his point, I think, to get us thinking – and Gosling, who previously played the conflicted Jewish Nazi skinhead in "The Believer," inhabits the role of Leland so fully it's as if the character had killed him as well.
    • 50 Metascore
    • 50 Marc Savlov
    Director Noyce has a sure hand with the action sequences and keeps The Saint from bogging down too often in the mires of action film exposition (once again, think Mission: Impossible).
    • 62 Metascore
    • 50 Marc Savlov
    Suffers mightily from sequelitis. Forced to explain what’s going on and what’s going to be going on in the next and final installment (due out in November), the Wachowskis have laced the film with a series of crushingly dull and often incomprehensible scenes of exposition and yakky gabfests.
    • 48 Metascore
    • 50 Marc Savlov
    The final 30 odd minutes of this revisionist Holmes explodathon are downright thrilling, and it should go without saying but we'll restate it for the record: Downey Jr. inhabits the role of Sherlock Holmes to a near-molecular level.
    • 55 Metascore
    • 50 Marc Savlov
    It's stoner comedy of the most absurd kind, part fryboy mental drizzle, part wink-wink audience baiting, and wholly, utterly funny.
    • 75 Metascore
    • 50 Marc Savlov
    At times, it’s a bit like being cornered and regaled by actor Bill Nighy’s aging rocker Billy Mack from "Love Actually," but certainly more interesting, and a rewarding and informative document of some unlikely visionaries of maximum rock & roll.
    • 51 Metascore
    • 50 Marc Savlov
    High Heels becomes mired in its own best intentions - primary colors and all.
    • 57 Metascore
    • 50 Marc Savlov
    The straight dope for speed junkies and fans of the art of flinging one’s well-padded frame through the contortions enabled only by disastrously catapulting oneself off a slippery asphalt track at speeds even Dale Earnhardt would have dismissed as lunacy.
    • 56 Metascore
    • 50 Marc Savlov
    Carrey has yet to find the perfect vehicle for himself, but The Mask, while hardly as fantastic as it should have been, is a step in the right direction.
    • 60 Metascore
    • 50 Marc Savlov
    Unnerving and occasionally witty, were it not for its weak third act, Nolan's film might fall just short of genius. As it is, though, it's unique nonetheless.
    • 53 Metascore
    • 50 Marc Savlov
    Despite the grating, workmanlike direction of Chris Columbus (he's no Robert Wise, and Rent is nobody's idea of "West Side Story"), this boisterous adaptation is both a vivacious, wiseacre musical and an inarguable morality lesson: Love is all you need. Oh, and rent, of course.
    • 49 Metascore
    • 50 Marc Savlov
    It’s ingratiating in that nice doggie way, but the dogs, who have had their lips enhanced via CGI to aid in the illusion of speech, don’t have much more on their minds than where the next stick is going to sail in from.
    • 59 Metascore
    • 50 Marc Savlov
    By the end of this film/experiment/prank – which, to be blunt, is pretty unsatisfying – the viewer is left to ponder what it's all about, and what its purpose may have been, which, knowing Lynch and Herzog, might well be what it was about, and what its purpose was.
    • 84 Metascore
    • 50 Marc Savlov
    It's all a little too polished, a little too smug to be ranked up there as one of the great journalism films.
    • 66 Metascore
    • 50 Marc Savlov
    Ultimately, however, The Way Back fails to connect on the all-important visceral, emotional level.
    • 44 Metascore
    • 50 Marc Savlov
    The film tries so very hard to be The Movie of Summer '93 that it almost makes you sick for what could have been, what should have been, and, in the end, what it is: soulless sound and fury -- action in a vacuum.
    • 30 Metascore
    • 50 Marc Savlov
    The most expensive South Korean film ever made is also one of the most realistic (read: gory) depictions of the horrors of war, specifically World War II, global cinema has ever produced.
    • 47 Metascore
    • 50 Marc Savlov
    It's an obvious effort through and through, but that doesn't seem to dampen its ridiculous charm one bit.
    • 55 Metascore
    • 50 Marc Savlov
    For all its Del Toro touches (Goodwin as a young autistic boy kidnapped by the bugs), Mimic is a surprisingly hollow thriller.
    • 62 Metascore
    • 50 Marc Savlov
    U-571's plot moves like a rocket, never pausing for breath, and this works to a point, but certain events ... are glossed over in favor of more (exceptionally well-done) shots of exploding depth charges and topside battles.
    • 42 Metascore
    • 50 Marc Savlov
    It's interesting, though, to think of double-billing Woods' Crow with Pacino's Prince of Darkness from Devil's Advocate: Scenery-chewing never looked so good.
    • 66 Metascore
    • 50 Marc Savlov
    Not likely to win any hearts or minds this holiday season, La Bûche finally scores points by virtue of its inoffensiveness: Relax, pour a cuppa nog, and watch somebody else muck up the holidays for once.
    • 26 Metascore
    • 50 Marc Savlov
    A middling film through and through, despite the occasional shocks it tries to earnestly to achieve.
    • 38 Metascore
    • 50 Marc Savlov
    While it’s far from bad, it also falls far short of the icy frissons produced by the original.
    • 53 Metascore
    • 50 Marc Savlov
    It's a totally serviceable reboot for young people who are just discovering the joys of manga, but I can't help but miss the raw animation and even rawer emotional aesthetics of Tezuka's original televised animé series.
    • 58 Metascore
    • 50 Marc Savlov
    It is, in essence, the video game transferred part and parcel to the screen, and very well at that.
    • 83 Metascore
    • 50 Marc Savlov
    A bore... The film leaves you with the feeling, once again, of having enjoyed a lovely meal fit for royalty only to discover, too late, that the fruit was made of wax and the roast was little more than a Styrofoam mock-up.
    • 53 Metascore
    • 50 Marc Savlov
    So silly, so garishly over-the-top, and so bracingly eager to please, that it's hard not to fall under its gleefully gooney spell.
    • 71 Metascore
    • 50 Marc Savlov
    Feels like an overlong "SCTV" skit. Many prime gags are recycled throughout the film, and, honestly, there's only so much Eugene Levy schtick one can take (though he does get the best Yiddish lines in the film).
    • 71 Metascore
    • 50 Marc Savlov
    Predicated on the slimmest of notions, this debut by Jones is so cuddly-cute in its desire to be pleasing that it's all but transparent.
    • 63 Metascore
    • 50 Marc Savlov
    Does little to dispel the creeping feeling that Washington’s getting himself in something of a rut.
    • 60 Metascore
    • 50 Marc Savlov
    Not an easy film to love and politically incorrect to the hilt, it nevertheless leaves its mark on you – and it’s rarely, if ever, dull.

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