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 7.4 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 Pokémon Heroes
Score distribution:
1,654 movie reviews
    • 79 Metascore
    • 78 Marc Savlov
    Scrappy, powerful, and shocking.
    • 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.
    • 77 Metascore
    • 78 Marc Savlov
    It's a riveting, nail-biting, two-buckets-of-popcorn return to form for Howard.
    • 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.
    • 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.
    • 52 Metascore
    • 78 Marc Savlov
    Although the film tends to suffer from a severe case of overt preachiness in the third reel (shades of James Cameron's "The Abyss"), it's still a wonderfully visual, exciting ride.
    • 53 Metascore
    • 78 Marc Savlov
    The result is a riveting, eco-wise epic that'll do fans of both Ralph Nader and Katsuhiro Otomo proud.
    • 71 Metascore
    • 78 Marc Savlov
    Thankfully, The Nomi Song should go a long way toward re-cementing this striking creature's legendary status.
    • 64 Metascore
    • 78 Marc Savlov
    A wellspring of lowbrow comedy that leaves you giggling in spite of yourself. Truly, it does not suck.
    • 50 Metascore
    • 78 Marc Savlov
    Constantine will likely hold far more interest for devoted fans of the series, but it's not necessary to have read the books to appreciate the film's sumptuous visuals and art direction.
    • 74 Metascore
    • 78 Marc Savlov
    It's childhood done just right: part cotton candy angels, part gurning adult frighteners, and all wide-eyed kidhood bravado.
    • 74 Metascore
    • 78 Marc Savlov
    While the climax is admittedly something of a letdown after all the build-up, it's a hopelessly, helplessly original film, all guts, no glory.
    • 73 Metascore
    • 78 Marc Savlov
    Layer Cake is suffused with a stately sense of menace and a sort of doomed existential suave.
    • 56 Metascore
    • 78 Marc Savlov
    Works best when it seems like it's not working at all.
    • 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."
    • 53 Metascore
    • 78 Marc Savlov
    The year's most viciously entertaining psycho-road-movie-revenge-'n'-wreckage-romance.
    • 59 Metascore
    • 78 Marc Savlov
    The Guy Movie to end all Guy Movies, a ridiculously overblown summer testosterone blowout right down to the Wagnerian strains of the soundtrack and its stunningly high body count. It's also a hell of a lot of fun.
    • 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.
    • 71 Metascore
    • 78 Marc Savlov
    Leary, Demme, and screenwriter Mike Armstrong have come up with a brilliant, harrowing portrait of misplaced loyalties and savage valor that may be one of the best character-driven ensemble pieces to come around in some time.
    • 62 Metascore
    • 78 Marc Savlov
    One of the most eloquent tales in ages of dysfunctional love – between a man and his ideals, between a country and its government, and, in the end, between Evey and V.
    • 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.
    • 71 Metascore
    • 78 Marc Savlov
    This is the first Spike Lee Joint that feels more like a mainstream Hollywood cops-in-the-'hood picture and less like one of Lee's recurrent soapboxes.
    • 81 Metascore
    • 78 Marc Savlov
    The good news is Craig, who was riveting as a London pharmaceutical salesman in the recent Brit import "Layer Cake," is equally mesmerizing here.
    • 60 Metascore
    • 78 Marc Savlov
    The hippies, the ravers, the bumbling bobbies and nonplussed locals, the mud, the rush of being in the crush, up against the barricades, torn between the need for a restroom and the need for more room, to dance, to sing, to carry on like a stark loony regardless of your faraway day job – all of this is captured by Temple's unblinking, seemingly everywhere-at-once eye.
    • 51 Metascore
    • 78 Marc Savlov
    300
    Not since Mario Bava's "Hercules in the Haunted World" has Greco-Roman movie-house mythmaking been so thoroughly well-conceived and executed.
    • 72 Metascore
    • 78 Marc Savlov
    This is a wonderful, disarming film, sort of like Ghost, but with all the Hollywood drained from it, leaving nothing on screen but the truth of the matter. Which is the way it should be, of course.
    • 57 Metascore
    • 78 Marc Savlov
    Interestingly, Coppola has eschewed state-of-the-art special effects in favor of a panoply of archaic film-school tricks -- reversing the film, multiple exposures, playing with the shutter speed -- that give his Dracula a stylized, almost hyper-real clarity and a wonderfully singular weirdness.
    • 71 Metascore
    • 78 Marc Savlov
    Mad Dog and Glory, thankfully, finds the director in remarkable form, crafting an engrossing new film out of what might have been, in less competent hands, simply another Hollywood formula movie.
    • 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.
    • 69 Metascore
    • 78 Marc Savlov
    It should be mandatory viewing for right-to-lifers and prospective parents as well as fans of creepy, crawly filmmaking.
    • 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.
    • 79 Metascore
    • 78 Marc Savlov
    And Favreau? If you'd told me 12 years ago that Swingers' comic linchpin would end up helming one of the best, most visceral, and downright fun foray of all the comic-book franchises waiting in the CGI wings, I'd have told you to amscray, kid. But what the hell? Turns out irony's good for your blood.
    • 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.
    • 75 Metascore
    • 78 Marc Savlov
    No matter how bad you may have it, you'll feel better about your own lot in life after watching the tumultuous sexual flailings of Marcela and Jarda (Brejchová and Luknár), a way, way, way down on their luck Czech couple.
    • 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.
    • 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.
    • 54 Metascore
    • 78 Marc Savlov
    It's like the Sixties never happened, or maybe happened too much.
    • 68 Metascore
    • 78 Marc Savlov
    Timecrimes is a tremendously entertaining bit of Kafka that whirlpools down into "The Twilight Zone."
    • 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
    Two Lovers is an intensely felt, character-driven film, and there's no stronger character onscreen – not even Leonard – than Leonard's wise, Jewish mother, Ruth, played with effortless, pure perfection by Rossellini.
    • 79 Metascore
    • 78 Marc Savlov
    Even if you're familiar with the details of the game, Rafferty's suspenseful editing draws you to the edge of your seat and beyond, back into 1968 itself.
    • 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.
    • 68 Metascore
    • 78 Marc Savlov
    Gentle and comedically nuanced exercise in mourning.
    • 84 Metascore
    • 78 Marc Savlov
    A genuinely moving portrait of the artist as a young(ish) scullery maid.
    • 86 Metascore
    • 78 Marc Savlov
    Ponyo is another conceptually and thrilingly original masterstroke from an animator who long ago left Walt Disney in the dust.
    • 63 Metascore
    • 78 Marc Savlov
    It's pure Bedlam, but for genre fans, Scorsese makes it feel like coming home.
    • 73 Metascore
    • 78 Marc Savlov
    It's Disney's best traditionally animated outing in ages.
    • 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.
    • 83 Metascore
    • 78 Marc Savlov
    Deliciously bleak, black political satire from British director Armando Iannucci.
    • 74 Metascore
    • 78 Marc Savlov
    A drop-dead gorgeous period noir, rife with paranoia, femmes fatales, and good men inexorably sinking into the bloody mire and opaque texture of life (and death) during wartime.
    • 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.
    • 81 Metascore
    • 78 Marc Savlov
    The Damned United is Shakespearean in its tragedy.
    • 63 Metascore
    • 78 Marc Savlov
    No matter where your political gullibilities lie, Green Zone is a riveting piece of actioneering.
    • 83 Metascore
    • 78 Marc Savlov
    Bridges makes this sozzled and desperate ex-desperado – a cliché by any other name – as fresh and vital as one final shot at cowboy-poet redemption. It may sound crazy, but it's true.
    • 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.
    • 75 Metascore
    • 78 Marc Savlov
    It's a finely calibrated, spiraling lesson in what NOT to do when engaging in adultery, blackmail, arson, and general antisocial behaviors, and in its best moments it recalls the everyday darkness of James M. Cain: average people doing awful things in an amoral and uncaring universe.
    • 69 Metascore
    • 78 Marc Savlov
    Mines the traditional Western genre and infuses it with fresh, frequently hilarious life.
    • 79 Metascore
    • 78 Marc Savlov
    A fearless sort of melodramaticism that might have seemed silly if it weren't for the impeccable EVERYTHING on display here, from the lush, sexy camerawork of director of photography Yorick Le Saux (Swimming Pool) to the throbbing, atavistic score by John Adams. It's not silly or, at least, rarely so, and Swinton's nuanced, aching performance is downright revelatory.
    • 77 Metascore
    • 78 Marc Savlov
    You need only see Get Low for absolute proof that, while Hollywood may be in decline even as bad actors' salaries climb ever higher, there remain at least three very exemplary reasons – Duvall, Spacek, and Murray – to switch off your home theatre and get out into a real one.