For 1,648 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 Ran (re-release)
Lowest review score: 0 Freddy Got Fingered
Score distribution:
1,648 movie reviews
    • 70 Metascore
    • 78 Marc Savlov
    At times it feels almost too busy with plotting. There's so much going on, and so much to take in, that it leaves you winded. But that's origin stories for you. No one ever said setting up a savior would be simple.
    • 71 Metascore
    • 78 Marc Savlov
    Hopper, unsurprisingly, devours scenery like he's already dead and loving it, but for once his penchant for overacting is overshadowed by the real stars of Romero's world: They're dead, they're all messed up, but it's great to finally have them back in town.
    • 73 Metascore
    • 78 Marc Savlov
    Certainly one of the most lovingly crafted, end-of-the-world, cinematic feasts ever made, a spectacle of destruction and survival not even C.B DeMille could have envisioned.
    • 80 Metascore
    • 78 Marc Savlov
    A pure distillation of the great director's ongoing themes of the frailty of the human psyche and mankind's willful inability to accept the inevitable, whatever that may be.
    • 72 Metascore
    • 78 Marc Savlov
    Depp’s performance aside, Charlie and the Chocolate Factory is pure magic, swimming as it is in a black-treacle riptide of astonishing Oompa Loompa production numbers, an eerie patina of CGI airbrushing (Wonka himself looks downright pasteurized), and some almost too-clever in-jokes, and at least two references to Kurt Neumann’s 1958 film "The Fly."
    • 68 Metascore
    • 78 Marc Savlov
    Sticking it to the man, German-style.
    • 63 Metascore
    • 78 Marc Savlov
    True, the melodrama on display here can't compare to the likes of Larry, Moe, Curly, and the cannibals, but then this goofily charming quartet of Western outsiders is far more real than reel.
    • 56 Metascore
    • 78 Marc Savlov
    Sympathy for Mr. Vengeance's byzantine plot appears fairly straightforward at first, but slowly, deliberately moves into uncharted waters with the fluid grace of a tiger shark bumping up against a potential meal.
    • 83 Metascore
    • 78 Marc Savlov
    The dead have more fun than the living, again, in Tim Burton’s new stop-motion animated feature, a gift to gothlings everywhere and as exquisitely crafted as one of Federico’s post-mortem still lifes on "Six Feet Under," and just as melodramatically melancholic.
    • 61 Metascore
    • 78 Marc Savlov
    It's thanks to Akhtar's standout performance that The War Within is as electrifying as it is.
    • 70 Metascore
    • 78 Marc Savlov
    The Israeli comedy Ushpizin begins something like Guy Ritchie's "Snatch" and ends like the Coen brothers' "Raising Arizona" – in between it's a wholly original movie.
    • 72 Metascore
    • 78 Marc Savlov
    It's also a doozy of a comedy, matching the dark wit of Ross MacDonald's Lew Archer novels to the stylized theatrics of Matt Helm-era Dean Martin.
    • 58 Metascore
    • 78 Marc Savlov
    You don't have to be Jewish to enjoy this light romantic comedy, but it helps.
    • 66 Metascore
    • 78 Marc Savlov
    Might also be the best date movie ever, depending on your idea of a good time.
    • 72 Metascore
    • 78 Marc Savlov
    Mangold, Phoenix, and Witherspoon, all excellent in their roles.
    • 51 Metascore
    • 78 Marc Savlov
    Awesome.
    • 68 Metascore
    • 78 Marc Savlov
    Canny and somewhat overwhelming documentary.
    • 63 Metascore
    • 78 Marc Savlov
    ATL
    Despite a third-act tendency to gather a few spare genre clichés as it rolls along (Guns! Drugs! Angry siblings!), Robinson's film is a cut above the rest.
    • 69 Metascore
    • 78 Marc Savlov
    Of course, Slither isn't for everyone, but if you've a yen for gallons of grue and a smart, sassy story to boot, you couldn't do better than Gunn's hellishly fun horror show.
    • 66 Metascore
    • 78 Marc Savlov
    It's all poppycock, of course, but it's done with such vim and vigor and both narrative and visual flair that you care not a jot. Summer has arrived.
    • 61 Metascore
    • 78 Marc Savlov
    Alice Braga owns this film.
    • 85 Metascore
    • 78 Marc Savlov
    Half Nelson, with its bleakly hopeful view of humanity both damned and redeemed – simultaneously – is uncomfortably, almost exactly right.
    • 71 Metascore
    • 78 Marc Savlov
    A slow-burn stunner, where nothing much of consequence happens, except life itself.
    • 70 Metascore
    • 78 Marc Savlov
    Billed as Li's final martial arts epic (would that Jackie Chan be so thoughtful), Fearless is fittingly peripatetic, finding the Hong Kong superstar ricocheting across the screen.
    • 70 Metascore
    • 78 Marc Savlov
    I think it's a mess, but - and this is a major caveat - an endearing, beautiful, hopelessly honest mess that's supported by a pair of performances so unnaturally natural that they draw you in and clutch you, struggling, to their flipping, flopping hearts.
    • 81 Metascore
    • 78 Marc Savlov
    Schizophrenia never looked so good or so mesmerizing as it does here, and Paprika, while certainly not suitable for kids, manages to capture the childlike, helter-skelter chaos and curiosity of the human mind better than any other animated film.
    • 46 Metascore
    • 78 Marc Savlov
    Director Roth has accomplished the near impossible with Hostel: Part II: He's crafted a vastly superior sequel to a film already considered something of a classic by genre aficionados, one that supersedes its predecessor's sadistic entertainment quotient by orders of magnitude while also upstaging its own outrageous gore effects with a script that's smart, vicious, and occasionally, gleefully subversive.
    • 62 Metascore
    • 78 Marc Savlov
    It's smart; it's silly; it's – kill me now – shear terror.
    • 71 Metascore
    • 78 Marc Savlov
    Timely metaphors abound in The Order of the Phoenix, but the story (of which there is much) stands on its own magical merits, dark and darker still though they may be.
    • 63 Metascore
    • 78 Marc Savlov
    Both apocalyptic and suitably vague, The Signal's only serious weakness comes from some borderline histrionic performances; then again, it's tough to call hysteria anything other than a sane response to a world gone mad. Crazy, man.
    • 57 Metascore
    • 78 Marc Savlov
    This is frightening stuff, ably helmed (by writer/director Gorak, art director on the nerve janglers Fight Club and Fear and Loathing in Las Vegas), viciously acted, and altogether horrific in ways George A. Romero could imagine only through the lens of the darkest sort of fantasy.
    • 83 Metascore
    • 78 Marc Savlov
    Pure, goofy fun.
    • 57 Metascore
    • 78 Marc Savlov
    No other film in recent memory has featured such a terrifically retro maniac or revisited the heyday of Eighties gore films with such gleeful, moist abandon.
    • 46 Metascore
    • 78 Marc Savlov
    This is a Farrelly film for adults, if not the entire family, and its a charmer, honest both to the nature of the loves we choose in haste, and the fear that makes us so hasty so often.
    • 79 Metascore
    • 78 Marc Savlov
    Like an early Clash number, it's by turns lovely and ugly, loud as bombs and quiet as a revolution's first-thrown stone; it acknowledges the legend while uncovering the truth.
    • 82 Metascore
    • 78 Marc Savlov
    Impossible to shake off.
    • 66 Metascore
    • 78 Marc Savlov
    Diary of the Dead is meant to scare your pants off, blow your mind out the back of your skull, and then deposit you ungently back into reality, quaking a little, maybe, but still alive and, unlike the undead, thinking.
    • 72 Metascore
    • 78 Marc Savlov
    Priceless is a supremely satisfying confection – a French romantic comedy of the sort that ends with you standing outside the theatre with a dopey grin on your face.
    • 60 Metascore
    • 78 Marc Savlov
    One of the most affecting and certainly the most intimate of the cinematic arguments against the war in Iraq yet made.
    • 64 Metascore
    • 78 Marc Savlov
    The Fall lives and dies on the strength of Pace and Untaru's remarkable performances. It's there that the pulsing heart of this magical-real film beats most true.
    • 62 Metascore
    • 78 Marc Savlov
    A consistently entertaining parody that never once makes you feel like an idiot for laughing out loud at its idiocy.
    • 65 Metascore
    • 78 Marc Savlov
    Ford's Indy, who doesn't quite hang up his fedora at film's end, is still the only cinematic smartass-cum-bullwhipping scholar of antiquities I'd want by my side when push comes to shove comes to Nazis ("I hate these guys"), Russkies, or, for that matter, Al Quaeda. Go get 'em, Indy, and cue the John Williams while you''e at it.
    • 61 Metascore
    • 78 Marc Savlov
    Five years after Ang Lee attempted a stylistically and narratively daring reimagining of what a comic-book movie could be (an example that tanked disastrously at the box office), the big green gamma-guy returns to the screen in a purer, more unadulterated, vastly more entertaining form.
    • 78 Metascore
    • 78 Marc Savlov
    It's not perfect -- thank Satan! -- but Hellboy II: The Golden Army is by far the most splendidly imaginative and creatively uncorked piece of fantastic cinema since the director's "Pan's Labyrinth" netted an Oscar trifecta in 2007.
    • 58 Metascore
    • 78 Marc Savlov
    It's a grim, dark, and relentlessly violent film throughout; James Bond as Terminator rather than Templar – but it delivers the goods in bloody high style: explosively, sexily, and with 007 shaken (not stirred) to his icy core.
    • 68 Metascore
    • 78 Marc Savlov
    Timecrimes is a tremendously entertaining bit of Kafka that whirlpools down into "The Twilight Zone."
    • 67 Metascore
    • 78 Marc Savlov
    This is a Disney film, so there's never any real question regarding Bolt and his friends' ultimate success or failure, but the writing team of Dan Fogelman (Cars) and co-director Williams (Mulan) have concocted one of the most witty and often hilarious Disney outings in years.
    • 58 Metascore
    • 78 Marc Savlov
    There is a sense of ambiguity at the core of The Reader that makes it all the more brutal, all the more honest in its deflowering of love and what one imagines love ought to be instead of what it too often is.
    • 74 Metascore
    • 78 Marc Savlov
    The most remarkable aspect of Lemon Tree, however, and the one that's most likely to land this film on many year-end Best Foreign Film lists, is Abbass' devastating and marvelously restrained performance.
    • 83 Metascore
    • 78 Marc Savlov
    It's brutal to watch the bigger-they-are-the-harder-they-fall tragedy of this once-great heavyweight. In fact, it's enough to make you cry.
    • 78 Metascore
    • 78 Marc Savlov
    A spare and perfectly droll kinda-sorta comedy from Norwegian director Hamer.
    • 74 Metascore
    • 78 Marc Savlov
    A Woman in Berlin is like a tour through the blast-cratered psyche of two colliding cultures, each with its own nightmarish tales to tell or acts of violence to experience.
    • 70 Metascore
    • 78 Marc Savlov
    An informative and nonpolemic look at the birth of the modern environmental movement and its various offshoots and key players.
    • 71 Metascore
    • 78 Marc Savlov
    The Yes Men’s bravery and unflagging sense of optimistically doomed humor – which comes across as a quixotic version of Monty Python by way of Upton Sinclair – is to be applauded and, wherever possible, acted upon.
    • 63 Metascore
    • 78 Marc Savlov
    No matter where your political gullibilities lie, Green Zone is a riveting piece of actioneering.
    • 76 Metascore
    • 78 Marc Savlov
    This is not your mother's murder mystery, unless your mother's maiden name is de Sade and she has an appallingly bleak vision of modern society that occasionally fixates on the historical misdeeds of the corporate/industrial world and the correction thereof.
    • 67 Metascore
    • 78 Marc Savlov
    To paraphrase Nathan McCall, this film makes you wanna holler.
    • 79 Metascore
    • 78 Marc Savlov
    Unfamiliar to most these days and it goes without saying that Harris performs a great service in the eyes of history with his film.
    • 61 Metascore
    • 78 Marc Savlov
    Deeply moral, thoughtful, and amiably humorous.
    • 52 Metascore
    • 78 Marc Savlov
    There's a genuine, sparky chemistry between the three (and later, a fourth), and Robertson, particularly, is luminous in her role.
    • 74 Metascore
    • 78 Marc Savlov
    A gorgeously crafted love poem.
    • 75 Metascore
    • 78 Marc Savlov
    Compelling, relentless cinema.
    • 60 Metascore
    • 78 Marc Savlov
    A disarmingly enjoyable film.
    • 74 Metascore
    • 78 Marc Savlov
    Should be required viewing for prospective parents still sitting on the spermatazoan fence; after all, you're going to need a good sense of humor, aren't you?
    • 49 Metascore
    • 78 Marc Savlov
    One glance at the cast should be enough of a recommendation for any film lover -- it's Winger's first time on the screen in seven years, and Howard deserves a nod or two if only for getting his wife back in front of the camera where she so clearly belongs.
    • 80 Metascore
    • 78 Marc Savlov
    Less a film than a lyrical, naturalistic tone poem.
    • 56 Metascore
    • 78 Marc Savlov
    CQ
    It may not be art, but it's vastly more entertaining than anything Coppola senior has done in far too long.
    • 63 Metascore
    • 78 Marc Savlov
    Remarkable debut feature by New Yorker Ben Younger.
    • 67 Metascore
    • 78 Marc Savlov
    Smith's film is a celebration of quirkiness, eccentricity, and certain individuals' tendency to let it all hang out, and damn the consequences.
    • 60 Metascore
    • 78 Marc Savlov
    This single film beats every other Hollywood action film of the past five years, hands down. It's not even close. Welcome back, Mr. Tsui.
    • 85 Metascore
    • 78 Marc Savlov
    There's no denying it's a tragic film from start to finish, but equally undeniable is the endless stoicism displayed by the women, and Panahi's crisp, meandering direction.
    • 66 Metascore
    • 78 Marc Savlov
    It's a humorous film, to be sure, but there's also a stringent vein of giddy realism to it.
    • 63 Metascore
    • 78 Marc Savlov
    Great fun to watch, thoughtful and timely, Thomas in Love is likely to generate some decidedly interesting post-film conversations as well.
    • 80 Metascore
    • 78 Marc Savlov
    Its adult themes of familial separation and societal betrayal are head and shoulders above much of the director’s previous popcorn work -– more hurt, more heart, more unassailable hope.
    • 77 Metascore
    • 78 Marc Savlov
    It's a riveting, nail-biting, two-buckets-of-popcorn return to form for Howard.
    • 70 Metascore
    • 78 Marc Savlov
    Even some third-act deus ex machina scrambling can't homogenize the film's darkly cynical punch. Tough as nails and twice as hilarious, it's a remedy for summer treacle.
    • 85 Metascore
    • 78 Marc Savlov
    Hardly a serious caper film, Out of Sight instead takes a lighter approach, effortlessly offering up as many unexpected chuckles as it does bullets.
    • 76 Metascore
    • 78 Marc Savlov
    As uncomfortable as it is to have your nose shoved in this nightmare, its unforgettable in its violent lyricism and the bloody power of its message.
    • 69 Metascore
    • 78 Marc Savlov
    Skateboarding is not a crime, but the subject of this exhaustive documentary... is very much a criminal.
    • 76 Metascore
    • 78 Marc Savlov
    The cast is uniformly excellent in their roles, and Eyre's persistent use of long, trailing shots reinforces the story's elegiac tone.
    • 65 Metascore
    • 78 Marc Savlov
    Gleefully, goofily over-the-top.
    • 70 Metascore
    • 78 Marc Savlov
    As atypical a summer film as they come -– no explosions, no car chases, no Arnold -– but immensely more pleasing than films with all three of those summertime staples.
    • 66 Metascore
    • 78 Marc Savlov
    It's 99 and 44/100% pure Mamet all the way.
    • 56 Metascore
    • 78 Marc Savlov
    Pure unadulterated animal fun.
    • 57 Metascore
    • 78 Marc Savlov
    Coixet’s film begins with the quiet patter of rain on skin and holds that somehow sweetly sorrowful tone throughout.
    • 64 Metascore
    • 78 Marc Savlov
    This film will either drive you mad or make you angry, possibly both, if you’re lucky, but it’s rarely boring.
    • 56 Metascore
    • 78 Marc Savlov
    You’ve heard of guerrilla warfare? Buffalo Soldiers is all about guerilla capitalism.
    • 73 Metascore
    • 78 Marc Savlov
    It's the best-looking film of the year, hands down, and Thornton is dazzling, a dull diamond in the gutter rough.
    • 66 Metascore
    • 78 Marc Savlov
    Reality has overtaken the movies here, which, I suppose, makes T3 all the more cathartically appealing. At least onscreen we have Arnold Schwarzenegger in our corner.
    • 81 Metascore
    • 78 Marc Savlov
    Fathers and families and the impossibility of ever fully understanding either are at the heart of My Architect, and like Nathaniel Kahn, we come away from the film with a renewed appreciation of both.
    • 72 Metascore
    • 78 Marc Savlov
    Thanks to the superior performances by all four leads (including incredibly expressive Karoline Eckertz, who appears as the teenage Regina midway through), Nowhere in Africa is a meditation on everything from race and class and cultural impermanence to the inexhaustible malleability of youth.
    • 64 Metascore
    • 78 Marc Savlov
    It's done with such a wonderfully dry style and wit that you don't mind having to stop to catch up now and again.
    • 90 Metascore
    • 78 Marc Savlov
    Full of period locations, costumes, and one very clever Lana Turner gag, it's easy to see why Ellroy is so pleased with the film.
    • 64 Metascore
    • 78 Marc Savlov
    Besson's visuals are, as always, vibrant and decidedly European. He fills the frames with odd-angled shots and alarming riots of color that catch you off-balance.
    • 61 Metascore
    • 78 Marc Savlov
    A slam-bang, sci-fi actioner, relentlessly paced and edited, with a pounding soundtrack and some ingenious aliens courtesy of Berni Wrightson and KNB Effects.
    • 82 Metascore
    • 78 Marc Savlov
    It's not perfect -- Thornton's slack-jawed yokel Jacob is played a bit wide of the mark and Fonda continues to irk in some indefinable way -- but it's a revelation for longtime Raimi fans. And it's a hell of a ride too, for both Raimi fans and newcomers alike.
    • 83 Metascore
    • 78 Marc Savlov
    Perhaps one of the cutest children's films ever made.
    • 72 Metascore
    • 78 Marc Savlov
    Pi
    Brilliant, surreal, and emotionally draining, this first feature from American Film Institute grad Aronofsky recalls such low-budget sci-fi epics as "Tetsuo: The Iron Man" and more traditional paranoiac suspense films (Adrian Lyne's "Jacob's Ladder" in particular, but also Polanski's "Rosemary's Baby") and yet manages to be a wholly original animal.
    • 64 Metascore
    • 78 Marc Savlov
    Trekkies is a hilarious work, mining the psychology of the average and not-so-average Trek fan, and coming up with the answers to all your burning questions about the show and its devoted following.
    • 43 Metascore
    • 78 Marc Savlov
    It's all patently ridiculous, but it's also ridiculously fun.