For 1,706 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 7.5 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 Jeepers Creepers II
Score distribution:
1,706 movie reviews
    • 71 Metascore
    • 78 Marc Savlov
    Leary, Demme, and screenwriter Mike Armstrong have come up with a brilliant, harrowing portrait of misplaced loyalties and savage valor that may be one of the best character-driven ensemble pieces to come around in some time.
    • 63 Metascore
    • 78 Marc Savlov
    Both apocalyptic and suitably vague, The Signal's only serious weakness comes from some borderline histrionic performances; then again, it's tough to call hysteria anything other than a sane response to a world gone mad. Crazy, man.
    • 59 Metascore
    • 78 Marc Savlov
    The performances have remained continuously excellent throughout The Hobbit trilogy, and they remain so here; likewise Howard Shore’s score, which is particularly righteous – bloodthirsty when it needs to be, keening when a particularly major character is cut down.
    • 59 Metascore
    • 78 Marc Savlov
    Absolutely, 100% kickass. Now would someone please get busy on the "Tank Girl" do-over, please?
    • 83 Metascore
    • 78 Marc Savlov
    The dead have more fun than the living, again, in Tim Burton’s new stop-motion animated feature, a gift to gothlings everywhere and as exquisitely crafted as one of Federico’s post-mortem still lifes on "Six Feet Under," and just as melodramatically melancholic.
    • 74 Metascore
    • 78 Marc Savlov
    Above all, it's a satisfying, almost restful work, as welcome in this less-than-thrilling cinematic summer as a cool soak on a hot summer's day.
    • tbd Metascore
    • 78 Marc Savlov
    It’s Fukumoto’s wonderfully weathered countenance that makes Ochiai’s film such an elegiac delight. On it, you can see the entire history of samurai cinema, or at least that essential part of it that died often, and beautifully so.
    • 76 Metascore
    • 78 Marc Savlov
    The cast is uniformly excellent in their roles, and Eyre's persistent use of long, trailing shots reinforces the story's elegiac tone.
    • 86 Metascore
    • 78 Marc Savlov
    Ponyo is another conceptually and thrilingly original masterstroke from an animator who long ago left Walt Disney in the dust.
    • 81 Metascore
    • 78 Marc Savlov
    Fathers and families and the impossibility of ever fully understanding either are at the heart of My Architect, and like Nathaniel Kahn, we come away from the film with a renewed appreciation of both.
    • 82 Metascore
    • 78 Marc Savlov
    Remarkable, melancholy, and ultimately hopeful documentary.
    • 65 Metascore
    • 78 Marc Savlov
    Ford's Indy, who doesn't quite hang up his fedora at film's end, is still the only cinematic smartass-cum-bullwhipping scholar of antiquities I'd want by my side when push comes to shove comes to Nazis ("I hate these guys"), Russkies, or, for that matter, Al Quaeda. Go get 'em, Indy, and cue the John Williams while you''e at it.
    • 73 Metascore
    • 78 Marc Savlov
    Certainly one of the most lovingly crafted, end-of-the-world, cinematic feasts ever made, a spectacle of destruction and survival not even C.B DeMille could have envisioned.
    • 70 Metascore
    • 78 Marc Savlov
    This is Martin Scorsese, and in the end, it's his town, and his show.
    • 62 Metascore
    • 78 Marc Savlov
    Damon, particularly, stands revealed as a comic ace.
    • 68 Metascore
    • 78 Marc Savlov
    In the end, it's a love story after all, but a peculiarly Gallocentric one -- cheap, nasty, but salvageable nonetheless.
    • 74 Metascore
    • 78 Marc Savlov
    The most remarkable aspect of Lemon Tree, however, and the one that's most likely to land this film on many year-end Best Foreign Film lists, is Abbass' devastating and marvelously restrained performance.
    • 72 Metascore
    • 78 Marc Savlov
    This is a wonderful, disarming film, sort of like Ghost, but with all the Hollywood drained from it, leaving nothing on screen but the truth of the matter. Which is the way it should be, of course.
    • 66 Metascore
    • 78 Marc Savlov
    Innocence is possessed of a highly literate, almost classical story.
    • 77 Metascore
    • 78 Marc Savlov
    It's a riveting, nail-biting, two-buckets-of-popcorn return to form for Howard.
    • 70 Metascore
    • 78 Marc Savlov
    Although a few bits (the film is done in blackout sketch style) fall flat and a good ten minutes could be shaved off the running time with no visible damage, it's an impressive and irascible debut that rings true even when you're laughing too hard to hear it.
    • 62 Metascore
    • 78 Marc Savlov
    Inspired lunacy.
    • 63 Metascore
    • 78 Marc Savlov
    The shock ending isn't all that shocking if you're a fan of genre films, but it's nonetheless effective despite the fact that it sidesteps several key questions. Never mind: It's hellishly fun.
    • 65 Metascore
    • 78 Marc Savlov
    Craven is obviously having a ball here, and it's impossible not to sit back and go grinning into this dark, gory ride.
    • 68 Metascore
    • 78 Marc Savlov
    Sticking it to the man, German-style.
    • 64 Metascore
    • 78 Marc Savlov
    It's a straight-ahead caper flick, very cool, and very, very Seventies (although it takes place in 1995), from production and costume design on down to the soundtrack.
    • 71 Metascore
    • 78 Marc Savlov
    Timely metaphors abound in The Order of the Phoenix, but the story (of which there is much) stands on its own magical merits, dark and darker still though they may be.
    • 76 Metascore
    • 78 Marc Savlov
    A film for the young at heart and those who still appreciate honor, valor, love, and the earth.
    • 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
    • 75 Metascore
    • 78 Marc Savlov
    Minus much of the rose-tinted nostalgia his films have occasionally engendered. There is a nostalgic tone to the film, but it's a quiet, subtle one.

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