For 1,676 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 7.4 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Kung Fu Hustle
Lowest review score: 0 My Soul to Take
Score distribution:
1,676 movie reviews
    • 66 Metascore
    • 78 Marc Savlov
    Reality has overtaken the movies here, which, I suppose, makes T3 all the more cathartically appealing. At least onscreen we have Arnold Schwarzenegger in our corner.
    • 83 Metascore
    • 78 Marc Savlov
    Cronenberg’s nonlinear narrative is trying at times – it keeps you nearly as off-kilter as the characters, and surely that’s intentional – but as a character piece about madness and stymied dreams, it’s remarkably realistic.
    • 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.
    • 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.
    • 73 Metascore
    • 78 Marc Savlov
    While the story may be a common one (for the action genre, at least), Rodriguez, who wrote, produced, shot and edited the entire film himself, has a uniquely straightforward wit that makes what might otherwise have been just another shoot-'em-up something more than that.
    • 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.
    • 57 Metascore
    • 78 Marc Savlov
    Coixet’s film begins with the quiet patter of rain on skin and holds that somehow sweetly sorrowful tone throughout.
    • 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.
    • 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.
    • 81 Metascore
    • 78 Marc Savlov
    A humanistic adventure film that's both rich with characterization and concussive cannon bursts, Master and Commander is, surprisingly, some of the best work either Crowe or Weir have ever done.
    • 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.
    • 64 Metascore
    • 78 Marc Savlov
    Fraser, Martin, and the rest of the flesh-and-blood characters look like they’re having a ball, which translates instantly to the audience as well.
    • 62 Metascore
    • 78 Marc Savlov
    Damon, particularly, stands revealed as a comic ace.
    • 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.
    • 74 Metascore
    • 78 Marc Savlov
    Teacher’s Pet feels more like Ren & Stimpy's John Kricfalusi on a mild dose of Prozac, and I mean that in the very best way.
    • 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.
    • 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.
    • 65 Metascore
    • 78 Marc Savlov
    A countrified, monolithic thing of beauty -- gorgeous to behold despite the fact that its overlong two-hour-and-45-minute running time plays off Redford's weather-beaten golden boy good looks far too often for its own good.
    • 64 Metascore
    • 78 Marc Savlov
    Besson's visuals are, as always, vibrant and decidedly European. He fills the frames with odd-angled shots and alarming riots of color that catch you off-balance.
    • 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.
    • 82 Metascore
    • 78 Marc Savlov
    Remarkable, melancholy, and ultimately hopeful documentary.
    • 78 Metascore
    • 78 Marc Savlov
    Is it classic cinema? Perhaps not, but then again, American shores and citizens have never been lacerated by atomic weapons. What do we know?
    • 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.
    • 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.
    • 59 Metascore
    • 78 Marc Savlov
    A meticulously-researched chunk of underground Americana that traces the poet's full life from his rather dysfunctional childhood (beneath the hoary shadow of his mentally ill mother) to his meetings and eventual friendships with Kerouac, Burroughs, Neal Cassady and other Beat luminaries. (Review of Original Release)
    • 51 Metascore
    • 78 Marc Savlov
    Gets its teeth in you and shakes. Once it’s over, you find yourself replaying it on an endless loop in your head.
    • 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
    By the time it's over you find yourself wondering why more films don't have the chutzpah to delve deeper into the battle-weary heart.
    • 66 Metascore
    • 78 Marc Savlov
    Innocence is possessed of a highly literate, almost classical story.
    • 56 Metascore
    • 78 Marc Savlov
    A genuine cri de couer in the director’s long-running battle against the forces of censorship and a banal societal (and cinematic) status quo. And for those reasons along it deserves to be seen.

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