For 114 reviews, this critic has graded:
  • 33% higher than the average critic
  • 19% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 6.3 points lower than other critics. (0-100 point scale)

Rachel Saltz's Scores

  • Movies
Average review score: 53
Highest review score: 90 Kite
Lowest review score: 20 I Do
Score distribution:
  1. Positive: 29 out of 114
  2. Negative: 13 out of 114
114 movie reviews
    • 83 Metascore
    • 90 Rachel Saltz
    As a director, Mr. Dolan has a freewheeling style, and he’s self-dramatizing enough to want to call attention to it without being too much of a visual show-off.
    • 81 Metascore
    • 90 Rachel Saltz
    Ms. Hui, a rare successful female director in the Hong Kong film industry, drew her story from real events, and the movie retains a tonic flavor of the everyday: its drama unfolds simply, without explosive moments but not without emotion. She and her two excellent leads keep the film buoyant.
    • 79 Metascore
    • 80 Rachel Saltz
    By keeping its focus admirably tight, the sober and sobering Israeli documentary The Law in These Parts presents a devastating case against the occupation of the West Bank and the Gaza Strip.
    • 77 Metascore
    • 70 Rachel Saltz
    Gerhard Richter may not fling paint at the canvas, Jackson Pollock-style, but as Corinna Belz shows in her documentary Gerhard Richter Painting, he can be his own kind of action painter.
    • 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.
    • 74 Metascore
    • 70 Rachel Saltz
    Well made, and for once the talking-heads format is satisfying.
    • 70 Metascore
    • 80 Rachel Saltz
    This history is too recent to seem dry, and the film gets an added emotional punch from interviews with former tenants, whose memories mix fondness with anger and loss.
    • 70 Metascore
    • 90 Rachel Saltz
    These are vivid, flawed, even introspective characters. And they're classic American strivers. With rodeo, but not just that, they hope to go beyond where they have been.
    • 70 Metascore
    • 70 Rachel Saltz
    Pitched somewhere between allegory and documentary, the film looks at its characters in a dispassionate, almost deadpan way. They’re something more than specimens under glass but something less than fully rounded people.
    • 70 Metascore
    • 90 Rachel Saltz
    These interviews form the backbone of !W.A.R., and like the film, they're passionate, contentious, funny, sincere, politically attuned.
    • 69 Metascore
    • 70 Rachel Saltz
    The writer-director Anusha Rizvi, making her feature debut, shoots her story efficiently and with visual panache, but after a compelling setup her script runs out of juice.
    • 67 Metascore
    • 90 Rachel Saltz
    Patang ("The Kite"), Prashant Bhargava's first feature, has a lovely, unforced quality. That's because Mr. Bhargava lets his story, set during the annual kite festival in Ahmedabad, India, tell itself, unfolding slowly as he follows filmmaking's most basic and most sinned-against dictum: Show, don't tell.
    • 67 Metascore
    • 50 Rachel Saltz
    “Re-emerging” can be pedestrian as filmmaking, though it remains interesting as long as it remains in Nigeria.
    • 67 Metascore
    • 70 Rachel Saltz
    Edmon Roch has a great story to tell in Garbo the Spy, and he recounts it with the flair of a Hollywood spy movie: "Garbo" is dramatic, entertaining, even funny in parts.
    • 67 Metascore
    • 70 Rachel Saltz
    By turns frustrating and moving, Ali Samadi Ahadi's documentary The Green Wave, about the Green Revolution in Iran, gets a jolt from footage shot by the people for the people on the people's cellphones.
    • 66 Metascore
    • 70 Rachel Saltz
    It also shows, perceptively and often sweetly, a broader slice of young, urban, educated life in India as the three deal with careers, love and happiness.
    • 66 Metascore
    • 70 Rachel Saltz
    The filmmakers retain a touching faith that most Americans won't tolerate injustice when they know about it. This film is meant to teach them.
    • 65 Metascore
    • 70 Rachel Saltz
    It's very much a Hindi film, but updated and delivered with conviction and style.
    • 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).
    • 65 Metascore
    • 50 Rachel Saltz
    While Ms. Collette grounds Ellie and her emotions in a tough-minded plausibility, she can only hint at what the script fails to deliver: the complexities of a flawed woman’s midlife crisis.
    • 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.
    • 65 Metascore
    • 40 Rachel Saltz
    If only Red Flag were funnier and tighter and had a sharper idea about what it means to blur the lines between self-interrogation and self-absorption. As it is, the movie throws off too few sparks.
    • 64 Metascore
    • 40 Rachel Saltz
    The filmmakers have no patience for details, either basic or telling. Their elliptical method starts to seem lazy, and Jean's plight, a journey from bad to bad, starts to seem a stacked deck. Through it all Mr. Genty holds your attention with his sober dignity. Too bad the filmmakers frequently let that slip into pathos.
    • 64 Metascore
    • 50 Rachel Saltz
    Intermittently absorbing, if deliberately stripped of drama.
    • 63 Metascore
    • 70 Rachel Saltz
    If A Coffee in Berlin has its own kind of formula and a romanticism that reads as both youthful and obscuring, it nevertheless absorbs you and makes you wonder what Mr. Gerster will do next.
    • 63 Metascore
    • 70 Rachel Saltz
    There's a lovely, unhurried quality to Mr. Hosoda's storytelling, which nicely matches the clean, classically composed images of his outer story.
    • 63 Metascore
    • 70 Rachel Saltz
    These mostly silent home movies often have the tug of nostalgia, especially those that show domestic life... But images can be slippery, showing something different from what their creators intended. Even as Mr. Lilti constructs a history...he seems to show its fissures.
    • 61 Metascore
    • 50 Rachel Saltz
    At one point the lions make a meal of a lovely young zebra they've just killed. That spelled the end for the little boy sitting next to me. "I'm too scared," he said, and he dragged his mom out of the theater. Sorry, kid, it's a jungle out there, even in Disneynature.
    • 61 Metascore
    • 70 Rachel Saltz
    Big Miracle gets off to a shaky start, but once revved up, it becomes an involving work-against-the-clock-and-the-odds action movie.
    • 61 Metascore
    • 50 Rachel Saltz
    “Dhoom 3” is very much the Aamir Khan show.