For 1,679 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 Control
Lowest review score: 0 All's Faire in Love
Score distribution:
1,679 movie reviews
    • 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.
    • 69 Metascore
    • 67 Marc Savlov
    Isn't going to make anyone's head explode with joy, but it is sweet and sporadically funny in its own loopy way.
    • Austin Chronicle
    • 51 Metascore
    • 67 Marc Savlov
    The barrage of information in Rebels is at times wearying; indeed many of the speakers look somewhat battle-weary, but there's clearly still a holy fire burning deep within their now-hooded eyes.
    • Austin Chronicle
    • 47 Metascore
    • 67 Marc Savlov
    It's a silly, goofball romp, sure, but this newfangled Josie rocks far harder than her predecessor.
    • 63 Metascore
    • 67 Marc Savlov
    A pleasantly vicarious slice of summertime falderol, innocuous in its presentation and often genuinely fun.
    • 51 Metascore
    • 67 Marc Savlov
    It's a kinder, gentler "Tales From the Crypt" that, in the end, is neither kind nor gentle.
    • 59 Metascore
    • 67 Marc Savlov
    Parcels out information like a triage medic doling out morphine; every tiny bit is carefully considered and then rationed out as though he were terrified he might exhaust his supply before the closing credits.
    • 36 Metascore
    • 67 Marc Savlov
    Bizarre, trenchant, and unexpectedly hilarious, this is one regular guy's foray into the lonely world of love. Were that all budding relationships came out this well.
    • 64 Metascore
    • 67 Marc Savlov
    Neither bloodthirsty enough to trigger the gag reflex of anyone but the most anemic viewer nor clever enough to yield much in the way of particularly engrossing insights.
    • 44 Metascore
    • 67 Marc Savlov
    At its heart the film wants nothing more than to make you giggle, and at that it succeeds admirably.
    • 51 Metascore
    • 67 Marc Savlov
    Has an unerring eye for the banal intricacies of 1950s pre-planned suburban neighborhoods, à la Levittown.
    • 57 Metascore
    • 67 Marc Savlov
    Is it just me or is Mick Jagger turning into John Hurt?
    • 43 Metascore
    • 67 Marc Savlov
    A remarkably solid, streamlined, action-comedy in the ugly-duckling-to-gorgeous-swan genre that elicits more laughs and genuinely affecting moments than you might expect from its tepid ad campaign.
    • 38 Metascore
    • 67 Marc Savlov
    It's good -- no, great -- to see Williams as a mean rat bastard.
    • 61 Metascore
    • 67 Marc Savlov
    As directed by Taymor, it's a competent and nicely designed biopic that for all of the director's attempts to link surrealist film imagery with Hayek's depiction of Kahlo somehow manages to be generally lackluster.
    • 60 Metascore
    • 67 Marc Savlov
    Gleefully silly fun, with a few core concepts on the nature of time, space, and la-la-la-love thrown in for good measure. And who can resist a puffin, anyway?
    • 69 Metascore
    • 67 Marc Savlov
    It's far from perfect -- as many jokes fall flat as succeed -- but like Undercover Brother himself, it's smarter than most, and twice as solid.
    • 66 Metascore
    • 67 Marc Savlov
    Towers head and hairpiece above much of what passes for urban comedy these days.
    • 61 Metascore
    • 67 Marc Savlov
    Zoolander's consistent, blissful stupidity is a comic, mental Xanax, soothing in its gormless sense of inspired wack.
    • 62 Metascore
    • 67 Marc Savlov
    If you're a parent, you could do a heck of a lot worse than taking the spawn off to catch Rugrats in Paris and if you're a kid, well, you probably already knew that anyway.
    • 76 Metascore
    • 67 Marc Savlov
    It’s [Depp's] first genuine “adult” role (not counting the tedious Nick of Time), and it allows him the freedom and emotional range to move, speak, and deal with issues more as an actor and less as a brat-packer.
    • 64 Metascore
    • 67 Marc Savlov
    The film's greatest strength lies in its ability to view itself as a modern moral fable of sorts.
    • 21 Metascore
    • 67 Marc Savlov
    While much of the film is taken over by enormously entertaining dogfight sequences … much of it also rests on the narrative drive, which seems clipped part and parcel from one of those old “Why We Fight” documentaries that Frank Capra doled out to keep our G.I.s in fighting mode.
    • 60 Metascore
    • 67 Marc Savlov
    Doesn't tell you anything about human nature you probably haven't already suspected, but then again it's good to be reminded of these dark things from time to time. Especially these days.
    • 64 Metascore
    • 67 Marc Savlov
    Columbus' film version is fine, and it's bound to make kids happy while simultaneously generating untold box office, but if you haven't yet picked up a copy, don't let the film override the novel; set aside a weekend, dive in, and then head off to the cineplex to take in this well-done companion piece.
    • 62 Metascore
    • 67 Marc Savlov
    A violent, sober cautionary tale, strictly middle-of-the-road when it comes to its much-ballyhooed politics and grimly obvious in its telling.
    • 74 Metascore
    • 67 Marc Savlov
    It’s ridiculous and smart, hilarious and terrifying, difficult to swallow and probably a necessary antidote to the cacophonous history of a land that all too often seems anything but holy.
    • 70 Metascore
    • 67 Marc Savlov
    Part character study, part redemptive drama, and all cheesy heart, it's Boston-baked melodrama, a little too gooey at times, but still pretty delicious.
    • 38 Metascore
    • 67 Marc Savlov
    It’s a message movie, as are all kids films these days, but these environmentally-aware messages are sweet and unforced, and well worth hearing.
    • 58 Metascore
    • 67 Marc Savlov
    Remains an above-average and affecting descent into both heretofore unknown Soviet naval history and the always popular submarine-in-peril genre.
    • 46 Metascore
    • 67 Marc Savlov
    The film’s major drawback is the broad strokes with which the henpecked trio of males is presented -- they’re not quite caricatures, but their individual quirks feel as though they were cribbed from other, better films.
    • 67 Metascore
    • 67 Marc Savlov
    An intelligent, viscerally kinetic throw-down, a jolt of pure adrenalized Spike that holds more than a few touches of genius in its overripe storyline.
    • 45 Metascore
    • 67 Marc Savlov
    "Interview With the Vampire" it's not, but marginally thrilling nonetheless, and besides, any film that features a house party in which the ceiling-mounted fire extinguishers expel freshets of crimson goo in place of H2O gets my vote.
    • 65 Metascore
    • 67 Marc Savlov
    Respiro scores high -– if strange -– marks, but I think it’s more in love with the quirky nature of life on a small island, which, unsurprisingly, echoes life in any small town, be it here or on some faraway Sicilian isle.
    • 58 Metascore
    • 67 Marc Savlov
    Pure, unadulterated teen exploitation filmmaking at its best -- a heady, rocketing blast of fast cars, loud hip-hop, and a script so cheesy it might as well have “Made in Wisconsin” stamped on it.
    • 77 Metascore
    • 67 Marc Savlov
    Unlike any other film released this past year, be it from the aspect of its storylines, of which there are many, or its emotional clarity, which is, quite frankly, brutal.
    • 68 Metascore
    • 67 Marc Savlov
    I continually found myself longing for the sheer intensity of the director's past glories, like Jaws, or even Duel. Spielberg seems to be trying so very hard for that elusive “Gosh, Wow, Sense of Wonder!” that it all looks strained in spots.
    • 57 Metascore
    • 67 Marc Savlov
    Despite an overlong running time and a punishing amount of violence and gore, it's a deeply ambitious picture, one of the most expensive and original to come out of France in many years.
    • 49 Metascore
    • 67 Marc Savlov
    If "The Others" is this year's paean to “quiet” horror, then Jeepers Creepers is its down 'n' dirty, punk rock, rip-your-throat-out-and-feed-it-to-you bastard child.
    • 68 Metascore
    • 67 Marc Savlov
    What is notable, though, is the amount of compassion invested in the film by Cameron and co-screenwriter William Wisher. There's a fairly well-drawn moral message in T2 that was more or less absent in the first film.
    • 59 Metascore
    • 67 Marc Savlov
    Intriguing and stylish.
    • 48 Metascore
    • 67 Marc Savlov
    So gleefully abandons any semblance of sanity that it's virtually impossible not to enjoy the sheer breadth of nonsensical fun taking place on screen.
    • 67 Metascore
    • 67 Marc Savlov
    Marvelous not in its evocation of horror but in the way it slowly chips away at the mundanities of day-to-day urban living.
    • 70 Metascore
    • 67 Marc Savlov
    It's a one-note gag, but a superior gag performed with a minimum of cheese and a surplus of laugh-out-loud moments.
    • 78 Metascore
    • 67 Marc Savlov
    Unconventional and idiosyncratic love story.
    • 67 Metascore
    • 67 Marc Savlov
    It remains head and shoulders above what little competition there is by virtue of its stellar casting, editing, and above all, Frankenheimer's fluid, explosive direction.
    • 38 Metascore
    • 67 Marc Savlov
    It’s most definitely not for the squeamish nor the easily offended -- the death scenes in Final Destination 2, of which there are many, are immensely bloody and imaginative affairs, full of exploding limbs, squashed bodies, and graphic, gory ultra-violence.
    • 49 Metascore
    • 67 Marc Savlov
    Doesn't say much of anything at all about the Balkan conflict -- it's more concerned with MacDowell's shattered face and Brody's passionate, paranoid whinny, which, come to think of it, is just good enough.
    • 56 Metascore
    • 67 Marc Savlov
    Ultimately, Cabin Fever isn't going to win any awards for originality - it's too busy twisting the conventions of the genre back in on themselves for that - but it does provide a jarring battery of scares (often depressing ones at that) that make it severed-head-and-shoulders above the spate of recent shockers.
    • 70 Metascore
    • 67 Marc Savlov
    Millennium Actress has more layers to it than the proverbial onion, but Kon’s sure hand keeps things moving right along and into the next historical period.
    • 42 Metascore
    • 67 Marc Savlov
    It is the perfectly cast Beckinsale who lifts Underworld out and away from the film’s many moments of silly gravitas and steers it into a truly interesting take on the whole vampires 'n' werewolves genre.
    • 63 Metascore
    • 67 Marc Savlov
    It's one of the better sequels to come out in years, and although it doesn't pack the emotional wallop of the first film, it's still head and shoulders (and punctured eyeballs) above most of what's out there.
    • 47 Metascore
    • 67 Marc Savlov
    It’s an impressive closing to the cycle, and, frankly, one that arrives not a moment too soon.
    • 66 Metascore
    • 67 Marc Savlov
    Detailed but, ultimately, one-sided.
    • 51 Metascore
    • 67 Marc Savlov
    It's not perfect King, but it is jarringly close, which these days remains pretty much all one could hope for.
    • 38 Metascore
    • 67 Marc Savlov
    Sick, twisted, and very funny, Parker and Stone have arrived. Again.
    • 65 Metascore
    • 67 Marc Savlov
    Funny weird and funny ha-ha go hand in hand in this small Icelandic town, apparently: It's a nice place to visit, but you wouldn't want to live there.
    • 47 Metascore
    • 67 Marc Savlov
    It's not the most flattering depiction of Jews I've seen. Still, The Passion of the Christ is something of a masterpiece, terrible to behold, unfit for children, certainly, but very much the work of a director in the throes of his own distinct passion.
    • 55 Metascore
    • 67 Marc Savlov
    The highlight of this satirical remake of ABC's mid-Seventies buddy-cop anomaly is named, unsurprisingly, Will Ferrell.
    • 43 Metascore
    • 67 Marc Savlov
    Meet Joe Black flows nicely, and the whole of the film is bathed in some of the most sumptuous cinematography (courtesy of "Like Water for Chocolate's" Emmanuel Lubezki) of the year.
    • 49 Metascore
    • 67 Marc Savlov
    One of the most inventive romantic comedies to come around in some while.
    • 61 Metascore
    • 67 Marc Savlov
    Peterson's film is a huge, loud beast of a film, filled with gunfire, explosions, and not a few tears. It's all grounded, however, in Ford's gritted-teeth performance as President Marshall.
    • 63 Metascore
    • 67 Marc Savlov
    Weaver essays the new hotmama Ripley with wry, good humor -- you can tell she's having a ball playing this unstoppable die-cast she-wolf.
    • 58 Metascore
    • 67 Marc Savlov
    Snyder’s film isn't likely to be considered a classic 20 years down the road like Romero's film is, but it's a winningly extreme episode in the ongoing adventures of Zombie and Harriet. (And stick around while the end credits roll: The film isn't over 'til it's over.)
    • 57 Metascore
    • 67 Marc Savlov
    Henderson's warm and toasty little gem of a film, slight though it may be, reminds you that the Greatest Generation, full of vim, vigor, and – most important – an indefatigable sense of purpose, grew up on both sides of the Big Pond.
    • 52 Metascore
    • 67 Marc Savlov
    The fun of Wild Things -- and there's a lot of it -- is in its never-ending game of cross and double cross.
    • 52 Metascore
    • 67 Marc Savlov
    Despite an inordinately complicated third-act resolution, it's head-and-shoulders above most so-called suspense films.
    • 72 Metascore
    • 67 Marc Savlov
    While the film ably thrusts longtime fans of Mignola’s highly stylized artwork and newcomers alike into the world of that ol' debbil Hellboy, the film suffers from both scattershot character development and a serious case of H.P. Lovecraft overdose.
    • 75 Metascore
    • 67 Marc Savlov
    Unsurprisingly, your enjoyment of Shrek 2 will likely be predicated on your enjoyment of Shrek 1.
    • 62 Metascore
    • 67 Marc Savlov
    The Negotiator falls short of greatness by a country mile; it's too chatty for its own good sometimes. But it's still a solid shoot-'em-up.
    • 47 Metascore
    • 67 Marc Savlov
    Emmerich’s sense of irony has rarely been so pointed, and The Day After Tomorrow, for all its obvious cataclysmic set-pieces and stock characterizations, is nothing if not timely.
    • 38 Metascore
    • 67 Marc Savlov
    The pleasure of The Chronicles of Riddick comes mostly from the fascinating and outlandishly detailed production design, which sprawls across the screen in nearly every shot, with the Necromonger’s gigantic starships looking similar to those strange stone heads on Easter Island.
    • 60 Metascore
    • 67 Marc Savlov
    Solid, workmanlike stuff, and enough to keep the legions of X-philes sated until next September. And since I realize some of you are dying to know, no, Mulder's butt remains, as always, fully clothed.
    • 48 Metascore
    • 67 Marc Savlov
    DiCillo has always had the laconic, funkified, vaguely surreal air of a Woody Allen on cough medicine (or a Jim Jarmusch on Jolt, for that matter), but The Real Blonde is just so much ado about nada.
    • 58 Metascore
    • 67 Marc Savlov
    Greenwald's doc is pure partisan warfare of the liberal stripe, to be sure, but that doesn't make it any less disturbing.
    • 60 Metascore
    • 67 Marc Savlov
    It's mad, bad nonsense of the summer, popcorn variety, disposable but oh-so-much fun to endure, a roller coaster on a wobbly cinematic track.
    • 75 Metascore
    • 67 Marc Savlov
    "Dr. Goodlove," or "How I Learned to Stop Worrying and Love the Proletariat" might have been a better title for this ingratiatingly loopy origin story about prerevolutionary icon Ernesto "Che" Guevara.
    • 67 Metascore
    • 67 Marc Savlov
    Thomas’ comic flair is undeniable, as is Stern’s comic acting ability; all other arguments aside, Private Parts is a consistently uproarious affair, riddled with brilliant comic set-pieces, including Stern’s many, many run-ins with various program directors and NBC brass.
    • 46 Metascore
    • 67 Marc Savlov
    A fine, familial elixir to remedy despair and soften hardened hearts, Around the Bend is likely just the first of many feathers in Roberts shiny new directorial cap.
    • 48 Metascore
    • 67 Marc Savlov
    Like everything else Parker puts his mind to -- is equally outlandish, part skewed morality play, part sophomoric slapstick, and wholly ridiculous.
    • 43 Metascore
    • 67 Marc Savlov
    By no means an embarrassment to the fledgling DreamWorks, The Peacemaker is instead a grand, noisy step in the right direction.
    • 56 Metascore
    • 67 Marc Savlov
    Van Bebber's film is tough, difficult, sporadically brilliant cinema, to be sure, and I doubt he'd have had it any other way. And as strange as it may sound, neither should the audience.
    • 46 Metascore
    • 67 Marc Savlov
    You know you're watching some sort of bizarre classic when King of Trash John Waters gets half his face burned off by sulfuric acid in the first act.
    • 53 Metascore
    • 67 Marc Savlov
    Weaver and Hirsch's flawless performances elevate the film above and beyond the ranks of "Ordinary People" pastiches, and in the end it stands on its own merits.
    • 69 Metascore
    • 67 Marc Savlov
    Feels for all the world like a Meg Ryan/Billy Crystal heist comedy transposed to the Far East.
    • 49 Metascore
    • 67 Marc Savlov
    Ultimately a fluffy bit of caper-noir, the success of Where the Money Is rests heavily with Old Blue Eyes.
    • 68 Metascore
    • 67 Marc Savlov
    Winning and emotionally punchy film.
    • 53 Metascore
    • 67 Marc Savlov
    It's a great set-up, and for the first two-thirds or so of the film it works exceptionally well as a jaundiced satire on the world of gay porn.

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