For 1,704 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 The Fog
Score distribution:
1,704 movie reviews
    • 69 Metascore
    • 78 Marc Savlov
    Fans of all that has come before (excluding Roger Corman's premature-ejaculation version of "The Fantastic Four," natch) will weep tears of giddy joy at how crowd-pleasingly cohesive – and ridiculously fun – this film is.
    • 52 Metascore
    • 78 Marc Savlov
    Although the film tends to suffer from a severe case of overt preachiness in the third reel (shades of James Cameron's "The Abyss"), it's still a wonderfully visual, exciting ride.
    • 53 Metascore
    • 78 Marc Savlov
    A riot of colors, Kika is sometimes sick, sometimes playful, but consistently hilarious and entertaining in ways that few films have been lately.
    • 62 Metascore
    • 78 Marc Savlov
    Not only the best date movie of the year, it's also a -- dare I say it twice -- delightfully charming -- and totally American, I might add -- slice of comedic bliss.
    • 56 Metascore
    • 78 Marc Savlov
    Works best when it seems like it's not working at all.
    • 70 Metascore
    • 78 Marc Savlov
    The strangest biographical film ever made is also one of the most charming, melancholy and quirkily humorous films of the year.
    • 87 Metascore
    • 78 Marc Savlov
    The Duke of Burgundy doubles down on the genre conventions and ends up being all the better for it. That’s thanks in large part to the score by the UK group Cat’s Eye, the two flawless lead performances, and cinematographer Nicholas D. Knowland’s keen eye for creating a more-than-acceptable simulacrum of Franco and Rolin’s hallucinatory, dreamlike vibes.
    • 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."
    • 68 Metascore
    • 78 Marc Savlov
    Timecrimes is a tremendously entertaining bit of Kafka that whirlpools down into "The Twilight Zone."
    • 54 Metascore
    • 78 Marc Savlov
    Absolutely one-hundred-percent ridiculous, this is comedy of a higher order, and more maniacally inspired than almost anything released in years.
    • 66 Metascore
    • 78 Marc Savlov
    It's 99 and 44/100% pure Mamet all the way.
    • 72 Metascore
    • 78 Marc Savlov
    It's also a doozy of a comedy, matching the dark wit of Ross MacDonald's Lew Archer novels to the stylized theatrics of Matt Helm-era Dean Martin.
    • 71 Metascore
    • 78 Marc Savlov
    It has the resonant feel of myth, buoyed by simultaneously vicious and compassionate performances from the men on both sides of the bars.
    • 71 Metascore
    • 78 Marc Savlov
    This is the first Spike Lee Joint that feels more like a mainstream Hollywood cops-in-the-'hood picture and less like one of Lee's recurrent soapboxes.
    • 72 Metascore
    • 78 Marc Savlov
    The result is a film that looks like no other in recent memory.
    • 65 Metascore
    • 78 Marc Savlov
    It's a strange and electrifying brew of Hollywood genre tropes recalibrated for a globalized sensibility.
    • 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.
    • 79 Metascore
    • 78 Marc Savlov
    A fearless sort of melodramaticism that might have seemed silly if it weren't for the impeccable EVERYTHING on display here, from the lush, sexy camerawork of director of photography Yorick Le Saux (Swimming Pool) to the throbbing, atavistic score by John Adams. It's not silly or, at least, rarely so, and Swinton's nuanced, aching performance is downright revelatory.
    • 74 Metascore
    • 78 Marc Savlov
    It's a kick, it's a gas, and it gives the Rat Pack itself a run for its money.
    • 73 Metascore
    • 78 Marc Savlov
    It's Disney's best traditionally animated outing in ages.
    • 71 Metascore
    • 78 Marc Savlov
    As depressing as it may sound on paper, directors Argott and Fenton have crafted a deeply disturbing but equally moving documentary.
    • 71 Metascore
    • 78 Marc Savlov
    Mad Dog and Glory, thankfully, finds the director in remarkable form, crafting an engrossing new film out of what might have been, in less competent hands, simply another Hollywood formula movie.
    • 52 Metascore
    • 78 Marc Savlov
    It's not perfect - infrequently the comedy and drama rub up against each other too much - but it is the genuine article: a wholly unique family film that can moisten your eyes even while it quickens your pulse.
    • 51 Metascore
    • 78 Marc Savlov
    Awesome.
    • 46 Metascore
    • 78 Marc Savlov
    Director Roth has accomplished the near impossible with Hostel: Part II: He's crafted a vastly superior sequel to a film already considered something of a classic by genre aficionados, one that supersedes its predecessor's sadistic entertainment quotient by orders of magnitude while also upstaging its own outrageous gore effects with a script that's smart, vicious, and occasionally, gleefully subversive.
    • 64 Metascore
    • 78 Marc Savlov
    This film will either drive you mad or make you angry, possibly both, if you’re lucky, but it’s rarely boring.
    • 80 Metascore
    • 78 Marc Savlov
    It's not the crowning achievement in Steven Spielberg's oeuvre, but Minority Report stands on its own sturdy sci-fi legs, and there's no sign of that little imp Haley Joel Osment, to boot, thankfully.
    • 52 Metascore
    • 78 Marc Savlov
    Director Espinosa stages the endless action with a tremendous flair that recalls John Woo's grittier moments, and cinematographer Oliver Wood, who shot Woo's finest Hollywood moment, "Face/Off," gives the whole violent show a downright brackish look that borders on the sublime.
    • 69 Metascore
    • 78 Marc Savlov
    Rarely have I seen a film so willing to champion the fallibility of the human heart.
    • 79 Metascore
    • 78 Marc Savlov
    It smarts, and shocks, and just for a moment blows your mind.

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