For 1,654 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 Control
Lowest review score: 0 Dude, Where's My Car?
Score distribution:
1,654 movie reviews
    • 78 Metascore
    • 67 Marc Savlov
    Has the look and feel of Euro-Altman (vastly superior to Euro-Disney, mind you).
    • 78 Metascore
    • 50 Marc Savlov
    It wouldn't feel out of place on a double bill with "Dangerous Liaisons," given Breillat's unrepentantly nihilistic attitude toward the battle of the sexes in which all are pawns, every knight is errant, and the only queen is Queen Bitch.
    • 78 Metascore
    • 89 Marc Savlov
    Provides that rarest of documentary accomplishments: a glimpse into the artists' sunny, dark hearts.
    • 78 Metascore
    • 89 Marc Savlov
    Seems more like a subtle, elegiac tone poem than an indictment of human banality and the evil that men do.
    • 78 Metascore
    • 67 Marc Savlov
    One of the more surreal docs to come down the pike in some time.
    • 78 Metascore
    • 100 Marc Savlov
    It's a short, sharp, shock to the cinematic system that's virtually impossible to dislike, and if you don't leave the theatre grinning your face off, then buddy, movies just aren't for you.
    • 77 Metascore
    • 78 Marc Savlov
    It’s bravura, classic Hollywood filmmaking, and you like to think that Hughes himself would have viewed it, if not appreciatively, then at least with a sense of kinship.
    • 77 Metascore
    • 78 Marc Savlov
    It's a riveting, nail-biting, two-buckets-of-popcorn return to form for Howard.
    • 77 Metascore
    • 78 Marc Savlov
    This artful documentary about renowned Tokyo sushi master Jiro Ono is not going to help save Charlie the Tuna one iota.
    • 77 Metascore
    • 89 Marc Savlov
    Pollock is that rare breed, a biopic that makes you want to learn more about its subject, as much as you can, as fast as you can.
    • 77 Metascore
    • 50 Marc Savlov
    But even a rapper needs to punch things up a bit, and 8 Mile, for all its hip-hop braggadocio, is a pretty weak riff.
    • 77 Metascore
    • 78 Marc Savlov
    The crime is beyond bizarre, and the film is relentlessly suspenseful, but perhaps the most disturbing question of all is this: Whatever happened to Nicholas Barclay? To that, there remains no satisfactory answer.
    • 77 Metascore
    • 89 Marc Savlov
    Everything fits perfectly, from titles to fin, but most of all Firth, who dons the role of George like a fine bespoke suit.
    • 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.
    • 77 Metascore
    • 78 Marc Savlov
    The House I Live In is depressing stuff, but it sparks the fires of anger, and from that anger, possible action.
    • 77 Metascore
    • 67 Marc Savlov
    It's Wilson's film all the way. He's brings an unexpected frisson of surfer-esque chutzpah to the role of Roy, a bad guy with good intentions, a cowboy who, dammit, just wants to be loved.
    • 77 Metascore
    • 89 Marc Savlov
    So upbeat it might as well arrive on a sunbeam.
    • 77 Metascore
    • 78 Marc Savlov
    You need only see Get Low for absolute proof that, while Hollywood may be in decline even as bad actors' salaries climb ever higher, there remain at least three very exemplary reasons – Duvall, Spacek, and Murray – to switch off your home theatre and get out into a real one.
    • 77 Metascore
    • 89 Marc Savlov
    The bulk, the heft, and the girth of Bukowski: Born Into This arrives in the form of the author himself, giving beery readings to Berkeley audiences clearly enjoying a contact high or sitting, ill-kempt but quiet, pensive, Heineken in one yellowy paw, in his apartment.
    • 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.
    • 76 Metascore
    • 89 Marc Savlov
    As with all of Lee's films, there's much more going on beneath the surface than is immediately apparent.
    • 76 Metascore
    • 67 Marc Savlov
    It’s [Depp's] first genuine “adult” role (not counting the tedious Nick of Time), and it allows him the freedom and emotional range to move, speak, and deal with issues more as an actor and less as a brat-packer.
    • 76 Metascore
    • 78 Marc Savlov
    A film for the young at heart and those who still appreciate honor, valor, love, and the earth.
    • 76 Metascore
    • 50 Marc Savlov
    You have to wonder – not too hard, though – what this gore-soaked auteur's bedtime dreams are like.
    • 76 Metascore
    • 50 Marc Savlov
    Meehl's documentary features plenty of interviews with cowboys and ranch hands who've had their lives – and their horses' lives – changed by Brannaman, but it lacks the literary or cinematic magic of either version of "The Horse Whisperer."
    • 76 Metascore
    • 89 Marc Savlov
    The end result is an electrifying, morally complex story of the evil that men (and women) do in the name of the greater good.
    • 76 Metascore
    • 89 Marc Savlov
    That they were just hormonally blitzkrieged kids at the time, unaware of their role in history, only makes Peralta's superior doc that much more winning.
    • 76 Metascore
    • 78 Marc Savlov
    As uncomfortable as it is to have your nose shoved in this nightmare, its unforgettable in its violent lyricism and the bloody power of its message.
    • 76 Metascore
    • 67 Marc Savlov
    This debut feature from Australian director Duncan is still a wonderful sociopolitical experiment, dripping with sarcasm and bizarre, oddball humor, which make it all the more potent.
    • 76 Metascore
    • 78 Marc Savlov
    Durkin's film seems to exist in its own fractured dream state. It's hypnotic, narcotic, and trembling on the verge of either dread or redemption or some hazy state of nothingness in between.