For 1,704 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 7.3 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Ran (re-release)
Lowest review score: 0 The Santa Clause 3: The Escape Clause
Score distribution:
1,704 movie reviews
    • 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.
    • 38 Metascore
    • 67 Marc Savlov
    Sick, twisted, and very funny, Parker and Stone have arrived. Again.
    • 56 Metascore
    • 67 Marc Savlov
    A smart albeit uneven jab at everything from the clubbing life to the male inclination toward Peter Pan.
    • 50 Metascore
    • 67 Marc Savlov
    It is an utterly unique and highly ambitious project that isn't afraid to veer wildly from witty, risqué comedy to heavy emotional melodrama, often in the same sequence.
    • 78 Metascore
    • 67 Marc Savlov
    While 28 Weeks Later ultimately falls shy of classic status (it's no Panic in Year Zero!), there are several hard-to-shake scenes -- nightmare visions, really -- that reveal the infected populace to be far less dangerous to the fabric of a civilized society than, perhaps, the very notion of civilization itself.
    • 73 Metascore
    • 67 Marc Savlov
    By far the freakiest and most unnerving shocker in theatres this season.
    • 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.
    • 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.
    • 59 Metascore
    • 67 Marc Savlov
    It is, however, a very satisfying film, and surely the first in a long franchise (it does, after all, bear the subtitle The Vampire Chronicles).
    • 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.
    • 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.
    • 64 Metascore
    • 67 Marc Savlov
    It's less cheesecake than angel-food: frothy, light, and delicious, sure, but two hours later you're ready for something slightly more substantive.
    • 63 Metascore
    • 67 Marc Savlov
    It's nonstop chaos, and the everything-and-the-kitchen-sink style of comedy is taxing despite the frequent moments of pure comic genius.
    • 62 Metascore
    • 67 Marc Savlov
    It's always odd to see Robbins, a political activist in his own right, playing at villainy, but here he descends into the role so thoroughly that the lopsided smile becomes less a notation of cockeyed boyishness than a treacherous Cheshire smirk.
    • 51 Metascore
    • 67 Marc Savlov
    The delectably atmospheric Asylum remains gothic to its morally maggoty core.
    • 63 Metascore
    • 67 Marc Savlov
    Like the character of Rocky, it's got heart to spare, and is by turns one of the sweetest of the sweet-science pictures as well as one of the most doleful. Fighters fight, it's what they do. And Balboa, god bless him, fights on.
    • 51 Metascore
    • 67 Marc Savlov
    It's a kinder, gentler "Tales From the Crypt" that, in the end, is neither kind nor gentle.
    • 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.
    • 44 Metascore
    • 67 Marc Savlov
    At its heart the film wants nothing more than to make you giggle, and at that it succeeds admirably.
    • 75 Metascore
    • 67 Marc Savlov
    Unsurprisingly, your enjoyment of Shrek 2 will likely be predicated on your enjoyment of Shrek 1.
    • 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.
    • 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.
    • 58 Metascore
    • 67 Marc Savlov
    It may not be spring yet, but this sweet little gem of a movie is the perfect antidote to that lengthy stretch of grimy gray weather Austin endured a while back.
    • 64 Metascore
    • 67 Marc Savlov
    We've heard tell about the rebirth of the Western at least since Clint Eastwood's vicious, "Unforgiven" 16 years ago, but since the genre never truly died in the first place there's no need to flog that horse here.
    • 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.
    • 61 Metascore
    • 67 Marc Savlov
    A winning update of a classic piece of Eighties' filmmaking, and that in itself is something of a coup.
    • 60 Metascore
    • 67 Marc Savlov
    Not only is it interesting to follow the course of Gray's storyline, the movie is also equally interesting to view, even if the storyteller is just sitting in front of a desk most of the time.
    • 75 Metascore
    • 67 Marc Savlov
    It's Winslet who is the heart and soul of Little Children, and when she makes a desperate, final bid to reclaim her soul, it's both horrifying and heart-rending.
    • 63 Metascore
    • 67 Marc Savlov
    Its view of mankind is unkind, to say the least, but any race that can produce such remarkably garish gore as this is perhaps salvageable somehow, someday.
    • 69 Metascore
    • 67 Marc Savlov
    Call it the aesthetic of un-Happiness.
    • 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.
    • 49 Metascore
    • 67 Marc Savlov
    While "The Chronicles of Riddick" was an overstuffed melange of CGI and unnecessary subplots, Riddick is a far more streamlined affair, and all the better for it.
    • 52 Metascore
    • 67 Marc Savlov
    Exodus is an entertainment of the first order. I’m not so sure about the filmmaker’s decision to render the Metatron archangel as a 9-year-old boy, but what the hell? You get hit on the head with a boulder, who knows what you’ll see?
    • 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.
    • 63 Metascore
    • 67 Marc Savlov
    It's still just cops and robbers, but with Donner at the helm, it feels like so much more.
    • 69 Metascore
    • 67 Marc Savlov
    The core family relationships ring pleasingly true, and the rebellious Merida is, alongside Katniss Everdeen, an intelligent, capable, and empathetic proto-riot grrrl with stupifyingly kickass hair and even better aim.
    • 61 Metascore
    • 67 Marc Savlov
    That it all ends on a somewhat flat, false note is less a failure of the filmmakers than it is a testament to a certain amount of overzealousness in the screenplay – which, of course, echoes the nail-gnawing tension unfolding onscreen. Bravo!
    • 48 Metascore
    • 67 Marc Savlov
    Fassbender, though, gets the kudos (again) as the man who has everything but loses it all – thanks partly to a slyly cast Bruno Ganz (Wings of Desire) and, more important, to the character’s moral compass that points wherever he feels it should, until, of course, it points due south of heaven.
    • 49 Metascore
    • 67 Marc Savlov
    One of the most inventive romantic comedies to come around in some while.
    • 68 Metascore
    • 67 Marc Savlov
    All one needs to know about Burt Munro, the real-life New Zealand codger and Indian motorcycle enthusiast who in 1967 set a land speed record that still stands today, comes midway through this unabashedly sentimental wall of schmaltz.
    • 64 Metascore
    • 67 Marc Savlov
    The Road deviates from McCarthy's original text via a series of flashbacks to the man's pre-apocalyptic life with the woman (Theron) who both leaves her family behind and is in turn left behind by them.
    • 58 Metascore
    • 67 Marc Savlov
    Unleashed suffers from a surfeit of sentimentality at times (blame Besson for that), but it's Li's first major Western role of any depth and he acquits himself admirably as both mad dog and melancholy master.
    • 51 Metascore
    • 67 Marc Savlov
    Has an unerring eye for the banal intricacies of 1950s pre-planned suburban neighborhoods, à la Levittown.
    • 61 Metascore
    • 67 Marc Savlov
    Laugh? Cry? I thought I'd die, but then that's the genius of Gordon.
    • 67 Metascore
    • 67 Marc Savlov
    Furious 7 is, to put it succinctly, a rush and a half.
    • 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.
    • 54 Metascore
    • 67 Marc Savlov
    In the end, it's all la dolce vita no matter how you look at it.
    • 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.
    • 66 Metascore
    • 67 Marc Savlov
    There’s tension as the two hole up in Santa Fe to work on the book, but the bottom-line feeling is of two old friends, now two old men, who have found their place in each other’s complicated lives.
    • 57 Metascore
    • 67 Marc Savlov
    Here's hoping that younger members of the audience will seek out Conan Doyle's original stories to further explore Holmes' official amanuensis, Dr. John Watson, whose brilliant case studies regarding his friend, roommate, and fellow rationalist are the stuff dreams are made of.
    • 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.
    • 52 Metascore
    • 67 Marc Savlov
    Despite an inordinately complicated third-act resolution, it's head-and-shoulders above most so-called suspense films.
    • 78 Metascore
    • 67 Marc Savlov
    One of the more surreal docs to come down the pike in some time.
    • 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.
    • 50 Metascore
    • 67 Marc Savlov
    Works both as an engagingly sordid meditation on protofeminism and contemporized sisterhood set in a time and a place where either/or were grounds for, at the very least, defenestration.
    • 71 Metascore
    • 67 Marc Savlov
    Red Eye's no classic, but with its smart, twisty little script and those two killer performances, it is a helluva lot of fun.
    • 47 Metascore
    • 67 Marc Savlov
    Bella is, indeed, a beautiful film. The bustling, cab-crowded thoroughfares of New York City have rarely looked as inviting and the coastline as momentously beachy as they do in this film.
    • 54 Metascore
    • 67 Marc Savlov
    Sandler's first collaboration with co-writer and current Hollywood comedy godhead Judd Apatow, is a crazed, delightfully bizarre return to form for Sandler.
    • 69 Metascore
    • 67 Marc Savlov
    Best of all, though, is the kinescope footage of the televised version's early episodes, which eerily resemble nothing so much as every other TV sitcom to follow, Seinfeld included.
    • 46 Metascore
    • 67 Marc Savlov
    Howard surprises with this decidedly honest comedy-melodrama.
    • 63 Metascore
    • 67 Marc Savlov
    Dafoe, as expected, is magnificent in the taciturn role, but the film tends to falter when he's not out stalking, combining as it does elements of family drama, environmental outrage, and outright suspense.
    • 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.
    • 55 Metascore
    • 67 Marc Savlov
    At its best when it goes down to the pub and captures, quite flawlessly, the grotty intoxication of these mad, bad, dangerous-to-know Hammers fans hoisting incalculable pints.
    • 71 Metascore
    • 67 Marc Savlov
    Much of Rare Exports is seen through the eyes of its preteen protagonist, which explains some of the story's minor omissions (who, exactly, hired this nefarious multinational mining outfit and why exactly?).
    • 43 Metascore
    • 67 Marc Savlov
    It's more fun than a poke in the heart with a sharp stick.
    • 59 Metascore
    • 67 Marc Savlov
    It is, in effect, a movie-house meta mirror, warped and weird, strange but true (except when it isn't). It's whatever you want it to be, which doesn't necessarily make it a great movie (although it contains moments of greatness), but it IS – by virtue of its premise alone – boldly unique.
    • 64 Metascore
    • 67 Marc Savlov
    Due in large part to its cultural relevance, this is also one of the few sequels that nearly succeeds in topping the original.
    • 51 Metascore
    • 67 Marc Savlov
    Jolie's explosive performance surpasses all expectations and renders the film a veritable must-see.
    • 72 Metascore
    • 67 Marc Savlov
    I found myself falling for it, hard. It's Trevorrow's feature debut and we'd like to see more, please.
    • 53 Metascore
    • 67 Marc Savlov
    These days, it's dark everywhere. Which makes Slade's wild, often exhilarating neo-Western ride into frostbit vampirism something of a respite, albeit one awash gore.
    • 57 Metascore
    • 67 Marc Savlov
    Take from the film's racial commingling what you want. Much of this may be old hat, even corny, and potentially offensive, but I haven't laughed out loud this often at a movie in ages.
    • 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?
    • 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.
    • 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.
    • 78 Metascore
    • 67 Marc Savlov
    Has the look and feel of Euro-Altman (vastly superior to Euro-Disney, mind you).
    • 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.
    • 68 Metascore
    • 67 Marc Savlov
    End of Watch is more than the sum of its parts, though; it ends on a downbeat note, but that's something I've come to expect from Ayer.
    • 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.
    • 78 Metascore
    • 67 Marc Savlov
    At once eerie, picaresque, evocative, and utterly alien to the reality most viewers inhabit, Into Great Silence is a daring and breathtakingly constructed documentary dream. So much so that the more restless among us may find themselves nodding off.
    • 71 Metascore
    • 67 Marc Savlov
    Brandon Lee's swan song is a kinetic, pounding, adrenalized feast for the senses, if not the psyche. Bursting with startling images, eclectic staging, and gorgeous neo-gothic set design.
    • 36 Metascore
    • 67 Marc Savlov
    With Turistas, Stockwell dives head-first into a veritable riptide of churning, vicious exploitation cinema, and the result is surprisingly effective.
    • 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.
    • 58 Metascore
    • 67 Marc Savlov
    To be sure, Snakes on a Plane is going to inspire some highly readable graduate-school film theses. You may even want to re-enroll to pen one yourself.
    • 47 Metascore
    • 67 Marc Savlov
    It's a silly, goofball romp, sure, but this newfangled Josie rocks far harder than her predecessor.
    • 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.
    • 73 Metascore
    • 67 Marc Savlov
    You may have the biggest flat-screen DLP monitor in the city, but Red Cliff will never look half as spectacular as it will on the big – and I mean really big – screen.
    • 42 Metascore
    • 67 Marc Savlov
    It's big, it's stupid, it's pretty kick-ass.
    • 61 Metascore
    • 67 Marc Savlov
    As with the original Anchorman, the gags fly fast and free; not all of them work, but a romantic subplot between linguistically challenged Brick and GNN secretary Chani (Wiig) is an inspired comedic dorkgasm.
    • 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.
    • 48 Metascore
    • 67 Marc Savlov
    Quite likely the most original dance film you'll see this year, The FP is awash in silliness that probably took ages to script, but the film's goofy heart and soul (yes, it has one) is what sticks with you in the end and makes this crazed film into a potential cult-movie masterpiece.
    • 73 Metascore
    • 67 Marc Savlov
    Achingly gorgeous in almost all respects, the film soars in its period depiction of turn-of-the-century London (and later in Venice, as well), from costuming to cinematography on down.
    • 73 Metascore
    • 67 Marc Savlov
    Left me with the feeling I've seen much of this before. It's not that I'd like something better, it's just that I'd like something new.
    • 70 Metascore
    • 67 Marc Savlov
    Cronos is a thoughtful, intelligent film, and as a horror movie (which is, I think, its main mission in life) it's genuinely disquieting.
    • 61 Metascore
    • 67 Marc Savlov
    Howard's snappy-smooth performance, unsurprisingly, is what elevates Fighting from its hoary genre predecessors.
    • 53 Metascore
    • 67 Marc Savlov
    It's all a bit much, yes, a bit exhausting, that's true, but then why on earth would anyone expect otherwise?
    • 63 Metascore
    • 67 Marc Savlov
    Home Alone is the apex, the pinnacle, the culmination of every bad bit Hughes has ever written or directed. It overflows with primitive, disastrously unfunny sight gags and neo-hateful familial humor.
    • 55 Metascore
    • 67 Marc Savlov
    The highlight of this satirical remake of ABC's mid-Seventies buddy-cop anomaly is named, unsurprisingly, Will Ferrell.
    • 51 Metascore
    • 67 Marc Savlov
    Summer was made for this kind of film, and Predators is almost exactly what you need to fix this otherwise busted summer cinema season.
    • 27 Metascore
    • 67 Marc Savlov
    This is an unpleasant film, but Argento, whose bloodline positively seethes with unpleasantness, is, in her own right, a master cinematic stylist of the first order.
    • 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

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