Salon.com's Scores

For 3,066 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Melancholia
Lowest review score: 0 Youth Without Youth
Score distribution:
3066 movie reviews
    • 23 Metascore
    • 30 Critic Score
    If explosive defecation is your idea of a laff riot, this picture -- and the Headrillaz soundtrack, by extension -- should be perfect fun.
  1. Cruise pedals hard through The Last Samurai, and the exertion shows. In fact, the whole picture is belabored and lumbering.
  2. Carell is on the fast track to becoming Robin Williams, a guy who lost the plot far too early on and began pouring his considerable comic gifts into brain-dead heart-warmers.
  3. Because the movie never fully engages us, it never quite manages to allay our queasiness about watching the boy's distress.
  4. There's so little sexual chemistry between the actors in this film that it seems like a kind of accomplishment. I've seen shows on C-SPAN that were hotter than this.
  5. Just when you think your jaw can't drop any lower in appalled amazement, comes a romantic comedy so lunkheaded and ill-conceived that it makes your average, idiotic Kate Hudson-Matthew McConaughey outing look like the reincarnation of Hepburn and Grant.
  6. Seriously, this is one of the strangest and most painful films in recent memory.
  7. Kubrick's much-anticipated final film boils down to the most elaborate monogamy lecture ever.
  8. The embodiment of every conservative paranoid's slathering fantasies about Paula Jones, Vince Foster and Whitewater.
  9. Seems best suited to all the couch-potato swinging dicks who get off watching the police on "Cops" keep the public safe from people in possession of marijuana.
  10. It's not just our emotions that are being played on here, it's not just our intelligence being insulted because of Ron Howard and Akiva Goldsman's presumption that we won't have any interest in a character whom it's not always possible to like. It's John Nash's life, being turned into an Oscar machine and an easy way to jerk tears.
  11. Extravagant in movie terms but stingy in emotional ones, it embodies all of Spielberg's bad impulses and almost none of his good ones: It's a grand display of how well he knows how to work us over, and yet the desperation with which he tries to get to us is repulsive.
  12. Even dressed up in tabloid lighting and cut with jagged edits, this pulp nihilism never goes beyond daytime TV banality.
  13. The fact that its sound and photography are gracefully crafted, or that fragments of a tolerable film are visible here and there, only makes its dumb-ass, romance-novel version of tragedy worse. This is one of the most badly botched mainstream movies I've seen in years.
  14. It stinks pretty bad, but not so bad you'd go out of your way to avoid it.
  15. The whole vibe is so shrill and frantic that the truly accomplished actresses, like Bening and Bergen, are left to flounder. The less nuanced ones -- that would be you, Debra Messing -- are, to use the idiom of the movie, as pleasant to watch as a bikini wax is to feel.
  16. A moment of silence, please, for Kate Hudson's career.
  17. It's like receiving a box of Valentine's chocolates in which someone has deliberately hidden ground glass. Flee.
  18. It's hard to remember a movie that has asked us to care, without giving us reason to, about a character who is so thoroughly and relentlessly a prick.
  19. Despite all their seamed stockings and Wonder Bras, the Reagan High girls are as far removed from their sexuality as Jawbreaker is from comedy.
  20. Maybe I'm expecting too much of Cyrus. But The Last Song rests heavily on her alleged appeal, and I can't remember the last time I came across such a singularly charmless teenage performer. I hesitate to even use the word "actress."
  21. Both the performance and the movie around it are virtually incomprehensible.
  22. The movie is flat-footed, and the pacing gives you time to rest between laughs.
  23. Any moron can make a bad movie. But it takes a special breed of schemer to make a picture as shameless as The Bucket List.
  24. Predictable, gratuitous and just self-referential enough to believe itself hip and knowing.
  25. Ben Affleck provides a charismatic star turn, but John Frankenheimer's out-of-season heist thriller is dead on arrival.
  26. There's nothing offhand or spontaneous-feeling about Nanny McPhee; it's a highly mechanical piece of work, and its potentially delightful details are wasted.
  27. They don't even look as if they're having fun. Their stint as cross-dressers is simply an endurance test for them, and for us.
  28. The picture is just a catalog of strained camera moves and preprogrammed gags, with no wit or style.
  29. Portman and Judd aren't responsible for the mendacious and finally repulsive sentimentality of Where the Heart Is, but by the end their wholesome glow seemed contaminated by it, and that's a shame.

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