For 1,901 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 9.2 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Some Like It Hot
Lowest review score: 0 Children of the Corn II: The Final Sacrifice
Score distribution:
1901 movie reviews
    • 56 Metascore
    • 30 Marc Savlov
    Feels more like Barry Levinson's "Tin Men" on Prozac.
    • 56 Metascore
    • 30 Marc Savlov
    The most lackadaisical thriller I've ever seen, overly infatuated with not only the inexplicability of random evil, but also its mundanity.
    • 38 Metascore
    • 30 Marc Savlov
    The script by S.S. Wilson and Brent Maddock (Ghost Dad) is so jumbled and the direction so chaotic that it's often hard to tell what's going on -- where, when, and why.
    • 35 Metascore
    • 30 Marc Savlov
    Apart from the fang-restraint of the nosferatu, however, there's precious little that's altogether new or for that matter shocking about this by-the-numbers thriller.
    • 46 Metascore
    • 30 Marc Savlov
    Remains little more than a briefly fascinating curiosity, a travelogue for those of us who can't actually attend.
    • 52 Metascore
    • 30 Marc Savlov
    Just watching the trailer for Oliver Stone's new football epic a few weeks back left me with a grating headache; watching the whole sweaty film practically put me in the ICU.
    • 40 Metascore
    • 30 Marc Savlov
    Selick is widely and rightly regarded as a master of surreal, dark humor, and wildly inventive animation technique, and Monkeybone is the first tarnish on his otherwise spotless reputation.
    • 38 Metascore
    • 30 Marc Savlov
    Sporadically funny, the film seems weighted down, literally, with bulging, bulbous Murphys flatulating endlessly.
    • 37 Metascore
    • 30 Marc Savlov
    The finished product is as predictably dull as a newborn's soft spot.
    • 55 Metascore
    • 30 Marc Savlov
    A character-driven piece with a character who seems somewhat hollow.
    • 38 Metascore
    • 30 Marc Savlov
    A limp and lackluster affair that telegraphs its feel-good smarm miles in advance.
    • 53 Metascore
    • 30 Marc Savlov
    It's the type of film that begs to be called “charming” and by doing so instead ends up grating.
    • 49 Metascore
    • 30 Marc Savlov
    The bottom line with the film is that there's just no damn mystery about it.
    • 36 Metascore
    • 30 Marc Savlov
    Fumbles on so many levels it's just plain silly. To paraphrase the film's tagline: The Thirteenth Floor: You can go there, but why would you want to?
    • 56 Metascore
    • 30 Marc Savlov
    It works only sporadically, and more as a comic outing than as a vicious battle of sexual predation.
    • 12 Metascore
    • 30 Marc Savlov
    This new film version, sad to say, is a hollow shell of the original series.
    • 24 Metascore
    • 30 Marc Savlov
    An exercise in unintentional farce.
    • 51 Metascore
    • 30 Marc Savlov
    The few gags that hit their mark only serve to point up how flaccid the rest of his material is, and that spells doom for a comic, no matter how much his hometown crowd cheers him on.
    • 28 Metascore
    • 30 Marc Savlov
    It's all a bit of overkill.
    • 63 Metascore
    • 30 Marc Savlov
    A dead-chamber misfire, a hollowpoint dud.
    • 49 Metascore
    • 30 Marc Savlov
    It's mediocrity at its most unremarkable.
    • 40 Metascore
    • 30 Marc Savlov
    Director Irwin Winkler and his cast obviously hope to shed light on the boundaries of love, and instead come up with a walloping case of the preachies.
    • 34 Metascore
    • 30 Marc Savlov
    Herzfeld also wrote the screenplay, and so its leaden and obvious tone and the resulting dearth of delicacy rests squarely on him.
    • 27 Metascore
    • 30 Marc Savlov
    As middling comedies go, this is neither as smart as it ought to be nor as dumb as you'd expect.
    • 41 Metascore
    • 30 Marc Savlov
    From the swooping aerial shots of downtown Miami, to the long, long-legged beauties that seem to crop up every time the action threatens to slow down, to the nonsensical lack of logic that permeates the film like the acrid odor of wasted cordite, Bad Boys oozes Eighties Hollywood clich├ęs like no film since "Top Gun."
    • 35 Metascore
    • 30 Marc Savlov
    Neither as good as its direct ancestor (Michael Schultz's great 1976 hood masterpiece Car Wash) nor as clever as the original Friday, this is, to put it bluntly, all seeds and stems.
    • 35 Metascore
    • 30 Marc Savlov
    A 119-minute trailer.
    • 24 Metascore
    • 30 Marc Savlov
    A boisterous, gooey miscue.
    • 21 Metascore
    • 30 Marc Savlov
    Prinze, Lillard, and Biel are all pleasant enough to look at, but the film's Romeo and Juliet tropes are shopworn by now, and the movie gives us nothing else.
    • 62 Metascore
    • 30 Marc Savlov
    In all honesty I'd advise you to go rent the stunning (and brand-new) DVD of the director's great "Le Mépris (Contempt)," which seems to me to be much more Godardian and much less hopeless.

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