For 1,680 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 Supercross
Score distribution:
1,680 movie reviews
    • 35 Metascore
    • 20 Marc Savlov
    Just plain dismal, an inexplicable mining of old, mid-level programming that has all the raging excitement of continental drift.
    • 28 Metascore
    • 20 Marc Savlov
    Meandering, sub-aquatic mess: It's so bad it's good, but only if you slide in on a freebie.
    • 24 Metascore
    • 20 Marc Savlov
    Neither very scary nor very interesting, Godsend is an unresurrectable muddle.
    • 30 Metascore
    • 20 Marc Savlov
    Sad, sorry remake.
    • 31 Metascore
    • 20 Marc Savlov
    Envy feels like a comedy in search of a drama in search of some sort of lugubrious existential meaning; it never quite seems to know where it's going to head next, and neither will the audience.
    • 48 Metascore
    • 20 Marc Savlov
    Dull and meandering documentary.
    • 41 Metascore
    • 20 Marc Savlov
    Quite possibly, this could have been a hit back in 1975 or so, and almost certainly for Blake Edwards, but here and now it's just a puzzling aberration.
    • 37 Metascore
    • 20 Marc Savlov
    Amid the endless stream of catch-a-rising-star movie clichés that Honey screenwriters Alonzo Brown and Kim Watson throw up and out are a few new ones, notably "skinny girls always win out in the end" and "hootchie bad, faux hootchie good."
    • 16 Metascore
    • 20 Marc Savlov
    Would have made a hell of a short -- but falls flat on its hyperstylized face as a feature.
    • 28 Metascore
    • 20 Marc Savlov
    Batman & Robin fails to engage the spirit of Batman, Robin, or decent marketing in general, and instead ends up as a limp, excruciatingly shallow knockoff that leaves viewers cringing at the unavoidable one-liners that make up the better part of the script.
    • 49 Metascore
    • 20 Marc Savlov
    Enough already.
    • 38 Metascore
    • 20 Marc Savlov
    The man behind the "Rush Hour" franchise proves that dropping sly nods in Alfred Hitchcock's direction does not necessarily a fine caper make.
    • 36 Metascore
    • 20 Marc Savlov
    With its eye-popping color palette and surreal sense of ever-heightening melodrama, Thunderbirds comes across as "Spy Kids'" poorer British cousin.
    • 36 Metascore
    • 20 Marc Savlov
    A colorful mess, all style and substances and little else.
    • 38 Metascore
    • 20 Marc Savlov
    It’s all very nice to look at, sure, but pretty colors and molten intercoolers aside, 2 Fast 2 Furious is about as exciting as a Yugo in quicksand.
    • 32 Metascore
    • 20 Marc Savlov
    I came out of Beyond Borders with the gnawing feeling I'd just been subjected to some sort of ghastly prank, Punk’d by the director of "GoldenEye" with Lara Croft as his willing confederate.
    • 68 Metascore
    • 20 Marc Savlov
    Michael Lehmann's "Heathers" followed the same sort of story line to much better effect in 1989, and Clueless leaves you itching to race over to the video store in search of just that.
    • 39 Metascore
    • 20 Marc Savlov
    Absurdism taken to a new extreme.
    • 21 Metascore
    • 20 Marc Savlov
    It's a dull, unremarkable comedy.
    • 38 Metascore
    • 20 Marc Savlov
    Of all the missteps made and absurdities offered, the most glaring is the casting of what appears to be a steroidal Eurotrash pimp as no less than Dracula.
    • 18 Metascore
    • 20 Marc Savlov
    Darby and co-screenwriter Michael Cristofer ("Breaking Up") telegraph every available bit of plot seemingly hours before it's necessary, resulting in a tawdry, boring mish-mash of genre clichés and arched eyebrows.
    • 45 Metascore
    • 20 Marc Savlov
    Unfortunately, the film rests heavily on the shoulders of Murphy, who seems to wander aimlessly from scene to scene, searching for a laugh. The joke's on him, though: There are none.
    • 30 Metascore
    • 20 Marc Savlov
    Grown Ups is exactly, beat for beat, what the previews would have you believe: a depressingly predictable, two-chuckle deconstruction of what Sandler sees as the modern American male.
    • 42 Metascore
    • 20 Marc Savlov
    Those audiences who have complained about the clunky exposition and mawkish emotional dialogue in Cameron's films will discover the "King of the World"'s own dramatic talents to be on par with the Bard in comparison to the shouty, over-emoted hokum on display here.
    • 39 Metascore
    • 20 Marc Savlov
    It's a helluva comic book, to be sure, but it's a godawful mess of a movie.
    • 41 Metascore
    • 20 Marc Savlov
    A slight, facile, and ultimately yawn worthy romantic comedy, and one of the most obvious if unexpected missteps in Hanks' career.
    • 16 Metascore
    • 20 Marc Savlov
    This is exactly the sort of film I wasn't expecting from either Gorak or his producers. In many too-obvious ways this is just a formulaic riff on Spielberg's "War of the Worlds."
    • 45 Metascore
    • 20 Marc Savlov
    Colombiana is one long megayawn; I'd have garnered more titillating thrills rewatching freckle-faced Russkie sexbomb Natalya Rudakova strut her leggy, sassy stuff in Megaton and Besson's "Transporter 3."
    • 17 Metascore
    • 20 Marc Savlov
    All of this is fair "can you take it?" territory, but in he end you find yourself wondering where Nineties-era German cinema-transgressor Jörg Buttgereit is, and when he might deign to make "Nekromantik 3." As for Human Centipede 2, well, frankly it kind of sucks ass. And we mean that literally.
    • 35 Metascore
    • 20 Marc Savlov
    Dream House is neither haunting (as the marketing appears to promise) nor all that original. But it does, thank goodness for small favors, have Elias Koteas.

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