For 1,649 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 7.1 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:
1,649 movie reviews
    • 71 Metascore
    • 78 Marc Savlov
    This romance isn't a sunshine-dappled meadow, it's a thicket of thorny rosebushes atop a rocky precipice. Both actors are alarmingly natural in their roles and Ade's direction is a model of subtly shifting tones and tempers.
    • 65 Metascore
    • 78 Marc Savlov
    You've got to hand it to Reynolds, director Cortés, and screenwriter Chris Sparling; they milk every single frisson of nail-ripping anxiety from a stunningly simple – yet universally recognized and dreaded – conceit and then cap it with a payoff of molar-pulverizing intensity.
    • 63 Metascore
    • 78 Marc Savlov
    Summer Wars is a magnificently manufactured piece of film entertainment that goes beyond the obvious and manages to comment, often obliquely, on everything from Facebook to virtual war and/or terrorism without ever seeming heavy-handed or strident.
    • 70 Metascore
    • 78 Marc Savlov
    This is smart, quirky, frequently laugh-out-loud comedy, in all seriousness.
    • 64 Metascore
    • 78 Marc Savlov
    Ultimately, Lemmy is a lesson in artistic stoicism and the possibility of growing old gracefully within the confines of an art form that almost always rewards youth and punishes (or, worse, forgets) anyone over 30.
    • 60 Metascore
    • 78 Marc Savlov
    The Adjustment Bureau is, above all, a romance of chance and chaos theory of the heart. (In this respect, some viewers will recognize it as kin to the early Gwyneth Paltrow fantasy "Sliding Doors.")
    • 74 Metascore
    • 78 Marc Savlov
    It's not nearly as complex and eerily existential as the director's debut, "Moon," but in its own way it's an even more satisfying time slice of identity-scrambled sci-fi.
    • 65 Metascore
    • 78 Marc Savlov
    It's a strange and electrifying brew of Hollywood genre tropes recalibrated for a globalized sensibility.
    • 87 Metascore
    • 78 Marc Savlov
    It's also a deeply moral antiwar film, if one chooses to view it that way.
    • 72 Metascore
    • 78 Marc Savlov
    The result is a film that looks like no other in recent memory.
    • 56 Metascore
    • 78 Marc Savlov
    The fact that Troy Nixey's debut feature is one creepyass frightmare is what matters, and boy, does he put the nail in that metaphorical coffin the first time out. It's not perfect, but it's awfully close.
    • 70 Metascore
    • 78 Marc Savlov
    It's not a pretty picture, but it is a hellaciously gorgeous and original film.
    • 65 Metascore
    • 78 Marc Savlov
    Referencing everything from "Deliverance" to "The Evil Dead" to "Fargo" and nailing its central conceit dead-on (literally!), this is one of those rare genre comedies that near-perfectly balances its blend of grue, guffaws, and gag reflexes.
    • 86 Metascore
    • 78 Marc Savlov
    Filmmaker Steve James is apparently incapable of making an uninteresting documentary, even when his subject matter might presumably be thoroughly played out.
    • 73 Metascore
    • 78 Marc Savlov
    It plays very much like it advertises itself: a mixtape – Fear of a Black Planet, then and now.
    • 76 Metascore
    • 78 Marc Savlov
    Durkin's film seems to exist in its own fractured dream state. It's hypnotic, narcotic, and trembling on the verge of either dread or redemption or some hazy state of nothingness in between.
    • 69 Metascore
    • 78 Marc Savlov
    Sarah Smith pulls the various threads of this wholly original – well, as original as can be reasonably expected given the thousands of cinematic iterations Christmastime has provoked over the years – together into a very coherent, visually stunning, oftentimes laugh-out-loud hilarious holiday film.
    • 71 Metascore
    • 78 Marc Savlov
    Despite its short running time, Being Elmo is an engrossingly layered documentary.
    • 65 Metascore
    • 78 Marc Savlov
    Knuckle is the real deal, with the strapping, brutally human Traveller clans butting heads with not only one another but with the very future of their subculture's existence.
    • 71 Metascore
    • 78 Marc Savlov
    It's a knockout, sucker punch of a performance, and although it doesn't completely erase the memory of Rapace (and why should it?), Mara's doomy gaze cuts through the hype and bores straight into your soul.
    • 89 Metascore
    • 78 Marc Savlov
    What's so intensely pleasurable about The Artist, however, is not its predetermined seriocomic trajectory but the endless parade of smartly creative and self-referential gags, which include all manner of sly, silent delights; the inevitable Jack Russell; and even an extended orchestral cue of Bernard Herrmann's, cribbed outright from "Vertigo."
    • 68 Metascore
    • 78 Marc Savlov
    It's a disturbing film on many, many levels, but beautifully shot (by Seamus McGarvey) and shot through with a horrific sense of false hope. The kid is not all right.
    • 64 Metascore
    • 78 Marc Savlov
    What makes The Innkeepers such an unnerving experience isn't the outright horror but rather the lack of it. West mines every single floorboard creek and shadowy corridor for maximum frisson; this film ventures far beyond creepy and into the rarely explored land of genuine, incremental fear.
    • 52 Metascore
    • 78 Marc Savlov
    Director Espinosa stages the endless action with a tremendous flair that recalls John Woo's grittier moments, and cinematographer Oliver Wood, who shot Woo's finest Hollywood moment, "Face/Off," gives the whole violent show a downright brackish look that borders on the sublime.
    • 80 Metascore
    • 78 Marc Savlov
    Although not directed by Hiyao Miyazaki (though he executive-produced and co-wrote it), the film retains the look and feel of the "Spirited Away" master's best work, allowing for huge emotions amidst a world of Lilliputian scope.
    • 79 Metascore
    • 78 Marc Savlov
    Immensely entertaining, Coriolanus is chock-full o' gore and the contemporary trappings of a man and a land divided, both from without and from within.
    • 51 Metascore
    • 78 Marc Savlov
    Old-school "Gosh, wow!" sense-of-wonder filmmaking is in short supply in these anxious days, and John Carter (of Mars!) left me with my disbelief in suspended animation and once or twice with goosebumps dotting my arms. And that's enough for me.
    • 74 Metascore
    • 78 Marc Savlov
    Based on actual events, this claustrophobic epic is as emotional as they come: a Holocaust story shot through with a layer of darkness both literal and figurative
    • 67 Metascore
    • 78 Marc Savlov
    The Hunger Games is first and foremost an adventure/survival story, and director Ross keeps things moving with nary a moment of downtime. There's precious little fat on the script; it's a lean, mean antifascist machine, and Lawrence is at once winsome and spectacularly engaging as Katniss (so much so that all her male costars pale into near-blandness in comparison).
    • 77 Metascore
    • 78 Marc Savlov
    This artful documentary about renowned Tokyo sushi master Jiro Ono is not going to help save Charlie the Tuna one iota.
    • 49 Metascore
    • 78 Marc Savlov
    Of course, if you loathed the first film, this one probably won't do much to change your mind. But fans, and I count myself among them, of the Weitz brothers' unexpectedly enjoyable original will find themselves in a familiar and perhaps comforting place … filthy language, risqué situations, die-hard friendships, and all.
    • 68 Metascore
    • 78 Marc Savlov
    True love is never having to say goodbye … because when you look in the mirror, there s/he is.
    • 71 Metascore
    • 78 Marc Savlov
    As depressing as it may sound on paper, directors Argott and Fenton have crafted a deeply disturbing but equally moving documentary.
    • 75 Metascore
    • 78 Marc Savlov
    Jack Black redeems himself (for Gulliver's Travels, among other things) with a subtly quirky performance that's one of his personal best.
    • 64 Metascore
    • 78 Marc Savlov
    Put on your best Southie accent and say it with me: This film is wicked fahwkin' retahded and I loved it.
    • 69 Metascore
    • 78 Marc Savlov
    Fans of all that has come before (excluding Roger Corman's premature-ejaculation version of "The Fantastic Four," natch) will weep tears of giddy joy at how crowd-pleasingly cohesive – and ridiculously fun – this film is.
    • 42 Metascore
    • 78 Marc Savlov
    Benjamin Walker, as Lincoln, may not have the gangly gravitas of Raymond Massey's "Abe Lincoln in Illinois" – he looks like a young Liam Neeson doing a younger Bruce Campbell, frankly – but he does have a sly, self-effacing sense of humor that feels ever so Lincoln-esque
    • 78 Metascore
    • 78 Marc Savlov
    I said once before that every generation gets the superhero it deserves, and Nolan's darkest of dark knights is surely ours – and no more so than in this current incarnation. (Granted, this doesn't bode well for society, but hey, things are bleak all over.)
    • 62 Metascore
    • 78 Marc Savlov
    It's ostensibly a Southern-fried comedy of terrors, but what little humor the film evinces almost immediately lodges in your windpipe like an errant bit of K-Fried-C gristle.
    • 72 Metascore
    • 78 Marc Savlov
    Laika's stop-motion animation is every bit as inspired here as it was in their rightfully lauded "Coraline," and the storyline never wavers from its boneyard-deep message: Being different from others is a good – nay, great – thing, no matter how many villagers (or zombies) are after you.
    • 77 Metascore
    • 78 Marc Savlov
    The crime is beyond bizarre, and the film is relentlessly suspenseful, but perhaps the most disturbing question of all is this: Whatever happened to Nicholas Barclay? To that, there remains no satisfactory answer.
    • 68 Metascore
    • 78 Marc Savlov
    It's a small gem of a movie, disturbingly realistic and profoundly terrifying on a near-primal level.
    • 59 Metascore
    • 78 Marc Savlov
    Absolutely, 100% kickass. Now would someone please get busy on the "Tank Girl" do-over, please?
    • 66 Metascore
    • 78 Marc Savlov
    It is an inspired, strange, and occasionally choke-on-your-popcorn funny ensemble piece that, frankly, blows just about every other current comedy out of the water.
    • 77 Metascore
    • 78 Marc Savlov
    The House I Live In is depressing stuff, but it sparks the fires of anger, and from that anger, possible action.
    • 86 Metascore
    • 78 Marc Savlov
    A far cry from his earlier films sex, lies, and videotape and Kafka, Soderbergh skillfully pulls off what could have ended up as a sappy glob of treacly nostalgia. Instead, the director populates his young hero's chaotic world with genuinely disturbing people, images, and events.
    • 69 Metascore
    • 78 Marc Savlov
    It's an uncomfortable, distressing, and altogether provocative take on the global culture of media violence that not only draws in hapless viewers, but also forces them into fait-accompli acceptance, like it or not.
    • 53 Metascore
    • 78 Marc Savlov
    A riot of colors, Kika is sometimes sick, sometimes playful, but consistently hilarious and entertaining in ways that few films have been lately.
    • 52 Metascore
    • 78 Marc Savlov
    It’s fun, gore-drenched, and even touching at times. All that’s missing from the toothy chaos and broad comedy on display here is Dame Judi Dench and the kickass title that could have been: "The Best Necrotic Mandible Hotel."
    • 66 Metascore
    • 78 Marc Savlov
    Wingard’s film is its own subset of fractious family crazy.
    • 55 Metascore
    • 78 Marc Savlov
    Spark, however, is the best of the lot when it comes to attempting to grok the burn and the burners.
    • 62 Metascore
    • 78 Marc Savlov
    Call it odious, call it repugnant, call it downright nasty – just don't call it dumb.
    • 70 Metascore
    • 78 Marc Savlov
    An American remake of Jorge Michel Grau's 2010 Mexican shocker, this Sundance and Fantastic Fest fan favorite is undeniably creepy stuff that’s been given a dusty, American Gothic anti-sheen courtesy of cinematographer Ryan Samul.
    • 65 Metascore
    • 78 Marc Savlov
    The film’s love for its subjects is mirrored in their passionate frenzy for words, and language – spoken, written, body – in general. Above all, and what sets it apart from other cinematic takes on the Beatified, is how much fun it is. It may end in tears, but then, don’t all great love stories?
    • 75 Metascore
    • 78 Marc Savlov
    The Punk Singer (and the formation of the Julie Ruin) offers a welcome return to, if not the fray, then certainly the front – where, as every rebel girl worth her combat boots knows, girls belong.
    • 66 Metascore
    • 78 Marc Savlov
    The Desolation of Smaug is, on the whole, a vast improvement over The Hobbit: An Unexpected Journey. It’s a popcorn movie (in the best sense) disguised as deep-core nerdism.
    • 63 Metascore
    • 78 Marc Savlov
    What Reggio’s ultimate point or conclusion might be is, as ever, left up to the viewer for interpretation. And while this is patently not a film that big-box cineplexers are going to rush to in droves, Visitors remains a wondrous work of artistic achievement.
    • 47 Metascore
    • 78 Marc Savlov
    While very much a “hard R” movie, Rise of an Empire is, nevertheless, the perfect sort of film for rainy weekend afternoons. It’s a spectacle right down to its shattered ships and duplicitous warcraft, and this time out the story’s been leavened and enlivened with plenty of old-school girl power.
    • 64 Metascore
    • 78 Marc Savlov
    The filmmaker brings neither condescension nor moral outrage here. A father confessor to his benighted characters, von Trier may revel in the muck, but Nymphomaniac: Volume 1 is anything but a dirty movie.
    • 31 Metascore
    • 67 Marc Savlov
    Green and Henson make an inspired comic team, Sawa has the befuddled stoner thing down pat, and Alba is, in a word, yummy.
    • 49 Metascore
    • 67 Marc Savlov
    It's a welcome and nicely goofy bit of sci-fi froth with the occasional hint of genuine comic smarts.
    • 51 Metascore
    • 67 Marc Savlov
    Jolie's explosive performance surpasses all expectations and renders the film a veritable must-see.
    • 50 Metascore
    • 67 Marc Savlov
    Simply put, Burton's film lacks the social and political gravitas of the original, a film that was wholly of its time.
    • 65 Metascore
    • 67 Marc Savlov
    Ali
    Mann's film is beautiful to watch. Cinematogrpaher Emmanuel Lubezki employs a washed-out, harshly lit style that makes everything look vaguely menacing and hyper-real, which is complemented by Lisa Gerrard and Pieter Bourke's Africanized score.
    • 60 Metascore
    • 67 Marc Savlov
    As pure a summer popcorn overdose as you're likely to find, M:i-2 is breezy, breathless, brainless fun, falling just short of Woo's own "Face/Off" but head and shoulders above anything else out there just now.
    • 74 Metascore
    • 67 Marc Savlov
    Utterly charming.
    • 77 Metascore
    • 67 Marc Savlov
    It's Wilson's film all the way. He's brings an unexpected frisson of surfer-esque chutzpah to the role of Roy, a bad guy with good intentions, a cowboy who, dammit, just wants to be loved.
    • 51 Metascore
    • 67 Marc Savlov
    Still, it's worth checking out if only to see Kidman immolate everything else on screen through sheer sexy charisma. Tom who?
    • tbd Metascore
    • 67 Marc Savlov
    While the dour pacing and tone rank right up there with watching water freeze in terms of gutpunching suspense, by the time the final, grisly revelation is at hand you're hard-pressed not to sweat.
    • 59 Metascore
    • 67 Marc Savlov
    A top-notch example of uninsulting kid humor at its goofiest.
    • 56 Metascore
    • 67 Marc Savlov
    One of the more intelligent comedies out there this summer -- it's not Brooks' best.
    • 53 Metascore
    • 67 Marc Savlov
    A warm, comfortable, thoroughly inoffensive kidfilm.
    • 70 Metascore
    • 67 Marc Savlov
    While never dull, The Cup is a leisurely, quiet film, rife with staid, sometimes ponderous moments reflecting the seriousness of their situation in exile.
    • 42 Metascore
    • 67 Marc Savlov
    It's nasty, brutal stuff, but it's also unlike anything else out there.
    • 78 Metascore
    • 67 Marc Savlov
    Human Resources, which gets my vote for most sarcastic title of the year, isn't a stand up and cheer kind of film.
    • 47 Metascore
    • 67 Marc Savlov
    It's a film so filled with sex and violence that many critics have derided it as nothing short of hardcore porn.
    • 52 Metascore
    • 67 Marc Savlov
    Nobody's going to give this one an Oscar, sure, but as far as the venerable teen sex comedy goes, this one actually makes it to third base.
    • 42 Metascore
    • 67 Marc Savlov
    More a meditation on the nature of life itself than anything else, and a welcome respite from Robin Williams, the emotion sponge.
    • 70 Metascore
    • 67 Marc Savlov
    Suffers from a surplus of interviews and information that imbue it with a vague sense of overkill.
    • 62 Metascore
    • 67 Marc Savlov
    As usual with anime features, just because it's animated doesn't mean it's for kids; heads roll and blood spurts, so know that going in, mom and dad. For the older crowd, though, it's gory and gorgeous bliss.
    • 47 Metascore
    • 67 Marc Savlov
    Manages to capture the essence of one of the world's most surprising success stories.
    • 71 Metascore
    • 67 Marc Savlov
    For all its stentorian performances, though, Shadow of the Vampire is a bit much, from the detailed period sets to the final, bloody scene.
    • 64 Metascore
    • 67 Marc Savlov
    A powerful little gem: a little bit of "The Outsiders" (the film's tone is remarkably similar to Coppola's film, minus the airy redemption and golden sunrises), a lot of "The 400 Blows," and a slice of "Radio Flyer" all wrapped up in a dirty black bow.
    • 67 Metascore
    • 67 Marc Savlov
    A suspenseful breath of fresh air following on the heels of one of the dumbest Hollywood summers in recent memory.
    • 61 Metascore
    • 67 Marc Savlov
    It's a love story, though, and all the more poignant for being one that actually survived under such tempestuous circumstances.
    • 70 Metascore
    • 67 Marc Savlov
    Junger has a deft touch with light comedy such as this; he manages to keep the film's convoluted plot spinning without resorting to too much gimmickry or descending to the level of so many teen comedies.
    • 62 Metascore
    • 67 Marc Savlov
    Shyamalan's premise is a lulu, to be sure, but if you can manage that precious, tentative suspension of disbelief, you'll find Unbreakable a rewarding meditation on the nature of heroes, both comic book and otherwise.
    • 72 Metascore
    • 67 Marc Savlov
    Go
    Relentless and mercurial, this new outing by "Swingers" director Liman takes off somewhere around Mach 3 and never lets up, leaving you with either a pounding headache or a wicked grin, or perhaps both.
    • 58 Metascore
    • 67 Marc Savlov
    This is a garish, rocket-fueled slice of popcorn mayhem, and the perfect antidote to this summer's limp action lineup.
    • 46 Metascore
    • 67 Marc Savlov
    In the end, Forces of Nature is a creampuff of a film, it being a scrappy romantic comedy of the purest stripe, what's so wrong with that? Not a thing.
    • 42 Metascore
    • 67 Marc Savlov
    It's big, it's stupid, it's pretty kick-ass.
    • 57 Metascore
    • 67 Marc Savlov
    Consistently entertaining.
    • 88 Metascore
    • 67 Marc Savlov
    As far as the chase genre goes, there have been worse films (better ones, too).
    • 52 Metascore
    • 67 Marc Savlov
    The character of Valentin is immediately recognizable to anyone who's gone to more than 20 films in their lives -- charming, cuddly, hellbent on making his world tolerable -- but to his credit both Noya and Agresti don't overplay their hand.
    • 54 Metascore
    • 67 Marc Savlov
    All told, it’s two-plus hours of trinkets and baubles and clever repartée beneath a perfect summer sun and beside the whitewashed walls of Fez, not inconsequential but as ephemeral as the sky above.
    • 84 Metascore
    • 67 Marc Savlov
    It’s far and away the most original symphony of terror since F.W. Murnau raised hackles and Schrecks with his 1922 Nosferatu.
    • 49 Metascore
    • 67 Marc Savlov
    Has those proverbial big laffs in spades.
    • 63 Metascore
    • 67 Marc Savlov
    The whole of it plays like a dark and dreary tone poem, only marginally interested in explaining the ticking, bloody clockwork of the inner beast and only occasionally touching on his fractured humanity.
    • 67 Metascore
    • 67 Marc Savlov
    A great, bizarre, and ultimately very, very unique film.
    • 75 Metascore
    • 67 Marc Savlov
    This is classic Hollywood, at its best and worst, sticky rich and scabrous. It may not be the truth, per se, but it sure sounds good.