For 1,714 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 7.6 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Control
Lowest review score: 0 Thomas and the Magic Railroad
Score distribution:
1,714 movie reviews
    • 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.
    • 89 Metascore
    • 100 Marc Savlov
    Unstoppable and righteous, it roars across the no-lane hardpan like the four-iron horseman of the kinetic apocalypse, amped up on bathtub crank and undiluted movie love. Oh, what a movie. What a lovely movie!
    • 90 Metascore
    • 100 Marc Savlov
    Such gorgeous explosions, such a terrible vision, such an amazing work of art. Go. Now.
    • 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.
    • 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.
    • 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.
    • 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!
    • 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.
    • 83 Metascore
    • 89 Marc Savlov
    Love, death, hope, and hatred: Spider-Man 2 has ’em all, in spades.
    • 82 Metascore
    • 89 Marc Savlov
    Electrifying and decidedly downbeat slice of life and death in Ajami.
    • 68 Metascore
    • 89 Marc Savlov
    One of Jordan's best films, and almost certainly in Nolte's top two percentile.
    • 65 Metascore
    • 89 Marc Savlov
    An unexpected classic.
    • 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.
    • 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.
    • 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.
    • 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.
    • 79 Metascore
    • 89 Marc Savlov
    As a documentary on the origins and backstory of the unfilmed film, Jodorowsky’s Dune is unsurpassable. More than that, however, it also allows audiences a rare glimpse inside the furiously creative mind of Jodorowsky, who still, at 84, is a wonderfully mad genius of the moving image.
    • 64 Metascore
    • 89 Marc Savlov
    Cloverfield is the most intense and original creature feature I've seen in my adult moviegoing life, and that's coming from a guy who knows his Gojira from his Gamera and his Harryhausen from his Honda. Cloverfield isn't a horror film – it's a pure-blood, grade A, exultantly exhilarating monster movie.
    • 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.
    • 62 Metascore
    • 89 Marc Savlov
    Piglet, your time has arrived. Sooth us.
    • 82 Metascore
    • 89 Marc Savlov
    Absolutely mandatory viewing for aspiring animators and filmmakers. (In terms of pacing, scoring, editing, and narrative, it's a film school unto itself.) For the rest of us, however, it's simply magic.
    • 71 Metascore
    • 89 Marc Savlov
    This is what great dialogue -- and by extension great movies -- is made of.
    • 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
    There are many questions raised and answered in this film, but one that isn’t is why on Earth it’s garnered an R rating. Love Is Strange is anything but. It’s a seriocomic romance of the most genteel sort, full of heartfelt “I love yous,” brief (and definitely unerotic) snuggling, and a wealth of tremendously fine acting from all involved.
    • 84 Metascore
    • 89 Marc Savlov
    While the evil that men do to one another in this film may well be rooted in the Cain-like enabling of original sin from one doomed brother to another, the final familial tragedy feels exactly like classic Lumet.
    • 92 Metascore
    • 89 Marc Savlov
    This is high fantasy of the best kind.
    • 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.
    • 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.
    • 74 Metascore
    • 89 Marc Savlov
    The balance between the slight, near-mythic narrative and the eye-wateringly beautiful cinematography (courtesy of Bradford Young), as well as the aching, spare score by Daniel Hart, create a movie that’s a more lovingly crafted tone poem than anything you’re likely to see on Texas screens this summer.
    • 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.
    • 78 Metascore
    • 89 Marc Savlov
    What makes Under the Skin such a mind-blower has everything to do with Johansson’s chillingly unempathetic turn as the, well, whatever she is, coupled with cinematographer Daniel Landin’s disorienting, hallucinogenic visuals.
    • 66 Metascore
    • 89 Marc Savlov
    Set in some sort of post-apocalyptic Parisian deli o' the damned, this lunatic's take on the future of man is so delightfully warped that it's impossible to shake it out of your head and go get a decent night's sleep.
    • 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.
    • 86 Metascore
    • 89 Marc Savlov
    It's something of a Tiananmen Square face-off, minus the overt politics, which makes it all the more spellbinding.
    • 76 Metascore
    • 89 Marc Savlov
    As with all of Lee's films, there's much more going on beneath the surface than is immediately apparent.
    • 71 Metascore
    • 89 Marc Savlov
    At once emotionally charged and genuinely, disconcertingly surreal...a marvel of subdued, genuine filmmaking.
    • 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.
    • 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.
    • 88 Metascore
    • 89 Marc Savlov
    It's a "keep calm, carry on" wartime melodrama of the first order, and stiff though it may be, it is never less than brilliantly done.
    • 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.
    • 82 Metascore
    • 89 Marc Savlov
    Face/Off works like a charm right on down the line thanks to brilliant, exhilarating performances from Cage and Travolta, and the many tremendously enjoyable action set-pieces that are Woo's hallmark.
    • 69 Metascore
    • 89 Marc Savlov
    Miller has somehow, inadvertently by his own admission, managed to capture the essence of the human throng, in all its maddening, scintillating permutations. It's a tour unlike any you have ever taken.
    • 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.
    • 76 Metascore
    • 89 Marc Savlov
    Sophie Scholl plods along inexorably, one step after another, to its grim, sad end. It's almost unbearable.
    • 88 Metascore
    • 89 Marc Savlov
    Citizenfour is obviously in Snowden’s corner, but as an example of pure cinema vérité, this is the finest – and most disturbing – political documentary since Alex Gibney’s Oscar-winning "Taxi to the Dark Side."
    • 68 Metascore
    • 89 Marc Savlov
    Why Don’t You Play in Hell? isn’t for everyone, but neither was Stravinsky’s "The Rite of Spring." Genius is genius, no matter how many audience members may riot.
    • 70 Metascore
    • 89 Marc Savlov
    Banderas, taking time off from voicing kids' films and appearing in Robert Rodriguez outings, plays Ledgard with just the right amount of borderline-freaky, intensity, and Anaya is another of Almodovar's terrifically talented and shockingly beautiful female leads.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 89 Marc Savlov
    This quiet, contemplative gem of a film paints a painfully accurate portrait of familial love, loss, and healing-by-degrees among the migrant communities bordering San Antonio.
    • 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.
    • 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.
    • 73 Metascore
    • 89 Marc Savlov
    So full of good stuff that it's impossible not to fall in love with it.
    • 86 Metascore
    • 89 Marc Savlov
    It's a jaw-droppingly good performance from this pint-sized, first-time actor.
    • 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.
    • 64 Metascore
    • 89 Marc Savlov
    Greenaway and his picture-perfect cast weave so many interlacing threads into the story, and so many curious subtexts - stylistic and otherwise - that it sometimes leaves us scratching our heads in wonderment.
    • 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.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 89 Marc Savlov
    Paranoid Park shows the Portland-based director to be working at the pinnacle of his art in every frame, in every composition. It's breathtaking, heartbreaking, tragic, gorgeous, and true all at the same time.
    • 69 Metascore
    • 89 Marc Savlov
    Harris' thought-provoking performance art/life isn't yet over, but by film's end he's become unplugged, both literally and metaphorically.
    • 90 Metascore
    • 89 Marc Savlov
    An order-of-magnitude leap forward in animated storytelling.
    • 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
    Clearly the single best, the single coolest (to borrow from Harry Knowles) animated film in a great while.
    • 85 Metascore
    • 89 Marc Savlov
    The Host is a freewheeling mix of high style and goofy, good-natured fear-mongering.
    • 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.
    • 86 Metascore
    • 89 Marc Savlov
    A brilliant, exhilarating piece of filmmaking. It may even be the best mainstream film of the year thus far.
    • 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.
    • 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.
    • 72 Metascore
    • 89 Marc Savlov
    That Aimée & Jaguar manages so well in triple duty as a wartime melodrama with a lesbian twist is remarkable.
    • 83 Metascore
    • 89 Marc Savlov
    It speaks to both the head and the heart, and it is, in myriad ways, some of the best work the legendary animator has ever created.
    • 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.
    • 76 Metascore
    • 89 Marc Savlov
    The end result is an electrifying, morally complex story of the evil that men (and women) do in the name of the greater good.
    • 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).
    • 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.
    • 65 Metascore
    • 89 Marc Savlov
    The film is delicious, welcome, and entirely satisfying and, as an added bonus, far and away the best genre-fan date movie of the year.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 89 Marc Savlov
    This remarkable adaptation of the supposedly "unfilmable" novel by David Mitchell achieves near-perfection on virtually all levels.
    • 88 Metascore
    • 89 Marc Savlov
    Definitely not for the squeamish, Wake in Fright is calibrated for maximum psychic impact. Its madness is viral and disconcerting. Truly, you're going to want a stiff drink and a hot shower, or a noose, after visiting the Yabba.
    • 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]
    • 70 Metascore
    • 89 Marc Savlov
    Just plain unforgettable.
    • 72 Metascore
    • 89 Marc Savlov
    The Blue Room is mesmerizing, psychologically complex, and, at the very end, viscerally devastating. They don’t make them like this much anymore, but they should.
    • 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.
    • 76 Metascore
    • 89 Marc Savlov
    Crowe has rarely been better, and the same goes for director Scott, who parallels and then dovetails Lucas and Roberts' stories with sublime, gritty precision, working up to a magnificent "Godfather III"-style crosscutting sequence that electrifies an already explosive tale.
    • 74 Metascore
    • 89 Marc Savlov
    For those who only recall Bana from his bland showing as Ang Lee's super-thyroidial meltdown monster, his performance here is a revelation.
    • 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.
    • 81 Metascore
    • 89 Marc Savlov
    A sweet-natured romantic fable, albeit one that packs in carnivorous cockroaches, rampaging brontosaurs, and the ever-Freudian Empire State Building among its requisite emotional baggage. And, too, it's a corker of an action/monster movie.
    • 71 Metascore
    • 89 Marc Savlov
    Factotum, for all its grim grind, is funny-serious, and smart-stupid. Just like you after four beers, and me after eight.
    • 78 Metascore
    • 89 Marc Savlov
    As concert films go, this is heady stuff.
    • 82 Metascore
    • 89 Marc Savlov
    Danny Boyle's 127 Hours is the calm, cool, and tear-your-hair-out exciting mirror image of Tony Scott's bland and formulaic "Unstoppable."
    • 44 Metascore
    • 89 Marc Savlov
    You can take a page from Wes Craven before he went flat and keep repeating, "It's only a movie; it's only a movie; it's only a movie." But is it?
    • 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!
    • 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.
    • 75 Metascore
    • 89 Marc Savlov
    Kempner's documentary is a streamlined, gorgeous piece of work, full of revelations of time, place, and person.
    • 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.

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