Salon.com's Scores

For 3,085 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Hugo
Lowest review score: 0 The Amityville Horror
Score distribution:
3085 movie reviews
  1. Reygadas is an undeniably important artist hewing his own path, but who is also self-consciously playing to the tastes of a tiny elite audience that craves obscurantism, confrontation and heavy-handed symbolism. Still, I really want you to see this. Then I'll have somebody to talk about it with.
  2. Just the latest forgettable thriller that might have been enjoyable if only its conclusion lived up to its windup.
  3. While the portrayal of Southern race relations in the '60s is less central here than in "The Help," it's also less labored and earnest, and one could argue that it's subtler, more intimate and more honest.
  4. May be overly sentimental at times, but at least it's about something.
  5. The type of comedy the Farrellys love requires dizzy, pell-mell pacing. If There's Something About Mary were tightened up by about 20 minutes, it would be much funnier.
  6. To my taste, savvy Hollywood veteran Bill Condon debuts as director of the two-part "Twilight" conclusion in satisfying fashion, delivering a voluptuous if often inert spectacle that splits the difference between high camp and decadent romance.
  7. To paraphrase a line from another Dickens' novel, Nicholas Nickleby is too much like a fragment of an underdone potato. The chef tended it very, very carefully, and still, it didn't turn out quite right.
  8. LUV
    Both for good and for ill, LUV has a film-school feeling about it, and channels a legacy of fatalistic American crime cinema that includes "Mean Streets" and "Treasure of the Sierra Madre."
  9. As an ode to fatherhood, Jersey Girl is sweet without being particularly deep; but Smith is really onto something when he nudges against the ways in which the geographic landscape of a life merges with the genetic one.
  10. Cars is an elaborate concoction all right. But it feels soldered together from a scrap heap of tired ideas.
  11. It's too bad that the glamour wears off about halfway through Entrapment, when it stops being a movie about art heists and starts being one about stealing (ho-hum) money.
  12. A handsome and well-acted film -- if you like that bitten-off, half-Hemingway style -- but also a grim, emotionally strangled one with a strong sadistic current, no genuinely likable characters and almost no humor.
    • 59 Metascore
    • 60 Critic Score
    As lightweight as it is, it's easy to feel real affection for the movie.
  13. This well-cast adaptation somehow feels obvious and overblown.
  14. Witherspoon's sophisticated-pixie brilliance practically makes the movie, and her easy, confident, curvaceous carriage doesn't hurt, either -- she's the thinking guy's cupcake, maybe because her mind is just as supple as her curves.
  15. Lean, fast and undeniably entertaining.
  16. None of the characters in Magnolia feel as vividly imagined as the porn stars and filmmakers and hangers-on of "Boogie Nights."
  17. If you can get past its toothpick of a premise, Run Fatboy Run is a perfectly enjoyable light comedy. It's also just good enough that I wanted it be better.
  18. The 76-year-old Zeffirelli will make many more movies, but Tea With Mussolini has the unmistakable feeling of a personal testament. Its sunny disposition and modest wit are well-suited to the genial temper of this born entertainer.
  19. It has a pleasing, noodly elasticity about it -- the picture knows what its limits are and proceeds to boogie unself-consciously far outside them.
  20. Malkovich is usually such a numbingly self-serious actor. But he cuts loose here in a way that's outlandishly brilliant: It's his best performance in years.
  21. The Time Machine is, for the most part, a handsome, pleasant entertainment.
  22. A large part of the movie's problem is that both the characters and the actors who portray them serve as vehicles for Ramsay's stylistic flourishes.
  23. Alexander Payne's new movie, Sideways, makes you feel like you're trapped at dinner with a wiseass who's trying to convince you what a sensitive guy he is.
  24. Shrink offers a roster of wonderfully eccentric characterizations, shoehorned into a dramatic structure that's just a little too formulaic.
  25. A discombobulated summer movie that’s kind of fun but doesn’t have nearly enough story to fill up two hours.
  26. This hot-button picture isn't especially well thought-out, but it might be crafty and manipulative enough to rile up audiences.
  27. This is Lunson's debut picture and she's smart enough to keep the whole affair very simple.
  28. Some fragments of that Dostoevskian romance linger on here: Just enough so that Wyatt and Wahlberg nail the climactic scene, when Jim is literally playing for his life, and make it momentarily seem to mean something. But not quite enough that you’ll remember what that something might be the next day.
  29. Despite its problems, the picture still satisfies -- more than a lot of allegedly worthy "A list" movies do. In a movie world where heavyweight often means top-heavy, Against the Ropes shows some pretty fleet footwork.

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