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 Twelve Monkeys
Lowest review score: 0 10,000 BC
Score distribution:
1,680 movie reviews
    • 96 Metascore
    • 89 Marc Savlov
    Pixar's animation is simply flawless; colorful, deeply realized, and ably conveying both the chaos of the kitchen, and the sensual allure of food well prepared.
    • 96 Metascore
    • 89 Marc Savlov
    Gravity is a major filmmaking accomplishment, no doubt, although it would have been interesting to see how it might have played sans dialogue. Unthinkable to Hollywood, sure, but still … Kowalski and Stone’s backstories and banter are, in the end, secondary to the film’s jaw-dropping visuals.
    • 94 Metascore
    • 89 Marc Savlov
    Fiercely original in every respect.
    • 94 Metascore
    • 89 Marc Savlov
    This is Pixar's finest and most emotionally powerful film yet, and it draws on a wealth of cinematic resources that run the gamut from Chaplin's best to Buster Keaton, Jacques Tati, and even Martin and Lewis.
    • 94 Metascore
    • 78 Marc Savlov
    It’s odd and unfortunate, however, that The Return of the King just barely misses the eye-misting emotional wallop of the series’ previous installment, The Two Towers, which had a lyrical subtlety underpinning the vast vistas of growing chaos (and Christopher Lee hardly hurt matters) and hobbits-in-peril.
    • 92 Metascore
    • 89 Marc Savlov
    This is high fantasy of the best kind.
    • 91 Metascore
    • 89 Marc Savlov
    Be forewarned: Folman closes his film with a grisly, real-death denouement that may give you some nightmares of your own. As well it should.
    • 90 Metascore
    • 100 Marc Savlov
    One of the 10 best films ever made, period.
    • 90 Metascore
    • 89 Marc Savlov
    A bitter, bloody masterpiece with adrenalized emotions and hyper-realized images, this is perhaps as close to battle as any sane human being should ever hope to tread.
    • 90 Metascore
    • 78 Marc Savlov
    Full of period locations, costumes, and one very clever Lana Turner gag, it's easy to see why Ellroy is so pleased with the film.
    • 90 Metascore
    • 100 Marc Savlov
    Such gorgeous explosions, such a terrible vision, such an amazing work of art. Go. Now.
    • 90 Metascore
    • 89 Marc Savlov
    Pixar's Finding Nemo may well have the best casting of any animated film of the past 30-odd years.
    • 90 Metascore
    • 89 Marc Savlov
    Wildly entertaining, "Shakespeare in Love" minus the Bard and the babe, but with substantive style to burn.
    • 90 Metascore
    • 89 Marc Savlov
    An order-of-magnitude leap forward in animated storytelling.
    • 90 Metascore
    • 89 Marc Savlov
    Remarkably fresh and exciting.
    • 90 Metascore
    • 89 Marc Savlov
    A third-act revelation will knock viewers silly and cause them to reevaluate everything that’s come before, but even without that jaw-dropping information, Moss’ film is a righteous piece of empathetic, of-the-moment documentary filmmaking.
    • 89 Metascore
    • 89 Marc Savlov
    Hauntingly beautiful film.
    • 89 Metascore
    • 89 Marc Savlov
    This feature-length expansion of Cohen's deliciously ridiculous character accomplishes what decades of Soviet propaganda failed to do: It points out and underscores issues of race, religious intolerance, classism, and all manner of very American social ills by giving the culprits just enough rope to hang themselves by their own petards (and then some).
    • 89 Metascore
    • 89 Marc Savlov
    It's enough to make you weep.
    • 89 Metascore
    • 78 Marc Savlov
    What's so intensely pleasurable about The Artist, however, is not its predetermined seriocomic trajectory but the endless parade of smartly creative and self-referential gags, which include all manner of sly, silent delights; the inevitable Jack Russell; and even an extended orchestral cue of Bernard Herrmann's, cribbed outright from "Vertigo."
    • 88 Metascore
    • 89 Marc Savlov
    Citizenfour is obviously in Snowden’s corner, but as an example of pure cinema vérité, this is the finest – and most disturbing – political documentary since Alex Gibney’s Oscar-winning "Taxi to the Dark Side."
    • 88 Metascore
    • 89 Marc Savlov
    Amid the increasingly horrific images of daily ghetto life are moments of utterly unexpected, haunting beauty, including a reel of color film that does more to humanize an inhuman situation than anything I've ever seen.
    • 88 Metascore
    • 89 Marc Savlov
    This is the sort of masterpiece that will obliterate memories of lesser, later efforts in the "meeting the parents" comedy lineage. Brilliant.
    • 88 Metascore
    • 89 Marc Savlov
    God forbid this should ever play on an IMAX screen -- the concussive soundtrack and relentless visuals would likely strike viewers deaf and blind (but what a way to go!). Simply breathtaking.
    • 88 Metascore
    • 78 Marc Savlov
    Absolutely delightful filmmaking, chock-full of gorgeously goofy animation and a storyline that cleverly echoes everything from "Stalag 17" to "Cool Hand Luke."
    • 88 Metascore
    • 89 Marc Savlov
    It's a "keep calm, carry on" wartime melodrama of the first order, and stiff though it may be, it is never less than brilliantly done.
    • 88 Metascore
    • 67 Marc Savlov
    As far as the chase genre goes, there have been worse films (better ones, too).
    • 88 Metascore
    • 89 Marc Savlov
    Definitely not for the squeamish, Wake in Fright is calibrated for maximum psychic impact. Its madness is viral and disconcerting. Truly, you're going to want a stiff drink and a hot shower, or a noose, after visiting the Yabba.
    • 88 Metascore
    • 50 Marc Savlov
    If you (or your kids) loved Toy Story, you'll like Toy Story 2 as well. Just don't expect any big surprises.
    • 87 Metascore
    • 89 Marc Savlov
    This isn't some pomo arthouse picture looking to score points by subverting the gangster paradigm; it's a killer film about killers who idolize film but are unable or unwilling to parse the doom that always crops up come Act III.

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