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 7.2 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
Average review score: 52
Highest review score: 100 Apocalypse Now
Lowest review score: 0 Death Race
Score distribution:
1,654 movie reviews
    • 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.
    • 65 Metascore
    • 78 Marc Savlov
    A very nasty piece of work, indeed.
    • 74 Metascore
    • 78 Marc Savlov
    Like the doomed vessel from which it takes its tale, Cameron's film is a behemoth, svelte, streamlined, and not the least bit ponderous.
    • 56 Metascore
    • 78 Marc Savlov
    It's a visually stunning film. For every kid everywhere, and for every adult still a kid at heart, the dinosaurs are the thing, and here, finally, Disney does justice to our dreams.
    • 65 Metascore
    • 78 Marc Savlov
    Brilliant, wacky, and utterly charming fluff, with millions of mad monkey minions to boot.
    • 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.
    • 68 Metascore
    • 78 Marc Savlov
    Lemarquis, as Noi, has a stoic and silent tenderness to him, and Hansdottir's Iris is the picture of pensive sluggishness. But then all that cold, cold snow slows you down, both inside and out, until the only thing moving is your heart.
    • 75 Metascore
    • 78 Marc Savlov
    Backed by a soundtrack of hip-hop and edited to within an inch of its life, Kennedy’s film has sleek gutter charm to spare.
    • 73 Metascore
    • 78 Marc Savlov
    Doesn't just raise the bar on sci-fi and action films, it rips that sucker off and sends it spiraling into the sun.
    • 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.
    • 59 Metascore
    • 78 Marc Savlov
    The Lost World (unlike Spielberg's original film) leaps head first into the action, rushing, it seems, to get the film's real stars -- the dinosaurs -- to the screen as quickly as possible, and it does so with considerable verve.
    • 70 Metascore
    • 78 Marc Savlov
    This is Martin Scorsese, and in the end, it's his town, and his show.
    • 67 Metascore
    • 78 Marc Savlov
    So great are the charges raised against the Bush administration in the film, and so combustible the current state of geopolitics, that Moore’s film could actually prove to be the first in history to help unseat a sitting American president.
    • 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.
    • 45 Metascore
    • 78 Marc Savlov
    It's a film that you can take home and chew over later, both abrasive in its loudness and reflective in its fleeting, feminine moments of silence. Well done.
    • 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.
    • 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.
    • 66 Metascore
    • 78 Marc Savlov
    Innocence is possessed of a highly literate, almost classical story.
    • 55 Metascore
    • 78 Marc Savlov
    It's not so much the individual storylines that grab you, but Curtis’ unrelenting optimism. In the end, it's nice to know that love, actually, does conquer all.
    • 58 Metascore
    • 78 Marc Savlov
    Let’s be honest: With a cast like this, it doesn't matter too much what the characters are doing onscreen, or if it makes about as much sense as a monochrome rainbow.
    • 73 Metascore
    • 78 Marc Savlov
    With centrifugal force on his side, Spider-Man dips, weaves, and whooshes past, up, and around the camera -- it's a rush, and it plasters a grin on your face even after you've left the theatre.
    • 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.
    • 79 Metascore
    • 78 Marc Savlov
    Scrappy, powerful, and shocking.
    • 64 Metascore
    • 78 Marc Savlov
    A wellspring of lowbrow comedy that leaves you giggling in spite of yourself. Truly, it does not suck.
    • 59 Metascore
    • 78 Marc Savlov
    The Guy Movie to end all Guy Movies, a ridiculously overblown summer testosterone blowout right down to the Wagnerian strains of the soundtrack and its stunningly high body count. It's also a hell of a lot of fun.
    • 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.
    • 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
    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.
    • 57 Metascore
    • 78 Marc Savlov
    Interestingly, Coppola has eschewed state-of-the-art special effects in favor of a panoply of archaic film-school tricks -- reversing the film, multiple exposures, playing with the shutter speed -- that give his Dracula a stylized, almost hyper-real clarity and a wonderfully singular weirdness.
    • 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.