For 126 reviews, this critic has graded:
  • 32% higher than the average critic
  • 21% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 5.9 points lower than other critics. (0-100 point scale)

Rachel Saltz's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 90 I Killed My Mother
Lowest review score: 20 Ultrasuede: In Search of Halston
Score distribution:
  1. Positive: 35 out of 126
  2. Negative: 13 out of 126
126 movie reviews
    • tbd Metascore
    • 70 Rachel Saltz
    Subtle it ain't and subtle it needn't be. It is, though, mostly involving (if Bollywood long, at 2 hours 45 minutes) and even occasionally stirring.
    • 59 Metascore
    • 70 Rachel Saltz
    The interviews are mostly good and instructive, but the well-chosen historical footage is better.
    • tbd Metascore
    • 70 Rachel Saltz
    The plot of Aurangzeb is inevitably too complicated, and the themes presented more interestingly than they are wrapped up. But for much of the nearly two-and-a-half-hour running time, it ably weaves Bollywood tropes...with contemporary outrage at the rules of the game.
    • tbd Metascore
    • 70 Rachel Saltz
    PK
    Mr. Hirani remains an excellent storyteller, weaving his disparate story strands into a convincing, satisfying whole — a rare Bollywood feat.
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    • 70 Rachel Saltz
    Mr. Mehta has done something difficult. He has made a film of conviction that’s neither plodding nor preachy.
    • tbd Metascore
    • 60 Rachel Saltz
    The action sequences mostly have tension and punch, even if the movie is old-school long — 2 hours 41 minutes — and the plot doesn’t bear too much scrutiny.
    • 49 Metascore
    • 60 Rachel Saltz
    Mr. Mortensen keeps you watching, even when the movie’s storytelling underwhelms. But Everybody Has a Plan is less about story than about texture and atmosphere. They stay with you, as does the haunted visage of Agustín, drifting on the delta waters.
    • 59 Metascore
    • 60 Rachel Saltz
    The 1980s sequences, with their tears and epiphanies, are less vivid and less convincing. An inviting sense of mystery hangs over the events of 1947, Ms. Kurys’s origin story.
    • 51 Metascore
    • 60 Rachel Saltz
    The talented Mr. Ross makes Dre's panic and adrenaline-fueled behavior all too believable. You watch as he sees his horizons dim. What could be sadder?
    • 47 Metascore
    • 60 Rachel Saltz
    Short and sweet and limited.
    • 74 Metascore
    • 60 Rachel Saltz
    May not be fully satisfying as a documentary. But it has what any good movie needs: a star — the ever-game soprano Natalie Dessay.
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    • 60 Rachel Saltz
    More and more, Bollywood movies are urban tales for urban audiences. What feels most backward-glancing about Singham is its uncomplicated, even cartoonish insistence on the benefits of village soil over city dirt for cultivating bedrock Indian values.
    • 60 Metascore
    • 60 Rachel Saltz
    Korkoro (the word means freedom in Romani) has an unexpectedly leisurely quality as it shows the texture of Gypsy life - the music-making, the intense bonds with horses and the natural world - and its awkward fit with modernity.
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    • 60 Rachel Saltz
    Gunday, directed by Ali Abbas Zafar, may be preposterous, but it’s rarely dull. And when Mr. Khan and Ms. Chopra are on screen it’s something more. It’s downright enjoyable.
    • 65 Metascore
    • 60 Rachel Saltz
    At times you wish Mr. Marx had sharper storytelling skills (or a better editor). Some important details seem clear only in retrospect, and some remain murky. Still, Mr. Marx shines a light on a place and a way of life that are rapidly changing.
    • 57 Metascore
    • 60 Rachel Saltz
    Has a complicated story to tell, about black surfers and, more broadly, about African-American history and the history of surfing. Great topics all, but that's a lot of ground to cover and, unsurprisingly, the film often feels a bit scattershot.
    • 56 Metascore
    • 60 Rachel Saltz
    The film needs an injection of Bollywood’s unembarrassed, anything-goes, bigger-than-life spirit, which embraces willy-nilly — as does Mr. Rushdie’s novel — the vulgar, the fanciful and the frankly unbelievable.
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    • 60 Rachel Saltz
    The movie too often fails to reward the close watching it requires. While its stillness powerfully suggests stasis, its fragmentary approach doesn't achieve a cumulative power.
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    • 60 Rachel Saltz
    2 States is an effort to go beyond formula while also embracing formulaic elements, including some nice song-and-dance sequences. The mix isn’t right yet. But that ambition provides its own tensions and energies, which help 2 States from feeling becalmed.
    • 57 Metascore
    • 60 Rachel Saltz
    As storytelling, "The Global Catch" often falls short. It has too much to cover to be comprehensive and can seem a bit random. As a consciousness raiser, the film fares much better.
    • tbd Metascore
    • 60 Rachel Saltz
    Ridiculous and undeniable, it's a punchy cartoon, rightly confident of its power to entertain. Why resist?
    • tbd Metascore
    • 60 Rachel Saltz
    The script, written by Mr. Gupta with Parveez Sheikh, has some engaging mysteries and witty payoffs. But the story is stretched too thin, blunting some of its more interesting ideas.
    • tbd Metascore
    • 60 Rachel Saltz
    His (Rivera) movie hits its targets, but softly, more in amusement than in anger.
    • tbd Metascore
    • 60 Rachel Saltz
    The film world setting could be better exploited and Shanaya's jealousy made less mechanical, but Raaz 3 delivers other goods: some horror thrills, some true-love-versus-evil thrills and some unusually steamy bits.
    • tbd Metascore
    • 60 Rachel Saltz
    Mr. Arbeláez cites Iranian film as an influence, and it's evident in his movie's subdued lyricism and its focus on the boys, whose games and projects - they keep trying to rescue the ball - are treated with a sweetness that steers clear (mostly) of sentimentality.
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    • 60 Rachel Saltz
    Kill Dil has excellent songs by Shankar-Ehsaan-Loy, and one memorable, stakes-clarifying dance sequence that juxtaposes two styles.
    • 60 Metascore
    • 60 Rachel Saltz
    If the storytelling disappoints (shocking!), the film mostly doesn't. It relies on action and effects and Bollywood's trump card, star power, to carry the day. This is Mr. Khan's movie, and once he sheds Shekhar's droopy locks, he shines as the deadpan, action-hero robot with digital snot and smooth moves on the dance floor.
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    • 60 Rachel Saltz
    The happy surprise of Ek Main aur Ekk Tu a Bollywood romcom that bears a vague resemblance to "What Happens in Vegas," is that it's not crude, sniggering or vindictive. Instead it's rather sweet and sometimes even a little unexpected.
    • 65 Metascore
    • 50 Rachel Saltz
    Ms. Rohrwacher combines a documentary impulse (effective in family scenes) with a more allegorical one. Her film gets clunky when allegory has the upper hand, and that means Corpo Celeste often stumbles, along with its 12-year-old heroine, Marta (Yle Vianello).
    • 37 Metascore
    • 50 Rachel Saltz
    What should be rousing stuff - a republic is born! the chains of feudalism thrown off! - remains a kind of lavishly illustrated history lesson. Even the irrepressible Mr. Chan (this is his 100th film) seems subdued.

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