Salon.com's Scores

For 3,068 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 Joe Strummer: The Future Is Unwritten
Lowest review score: 0 Hollow Man
Score distribution:
3068 movie reviews
  1. OK, so Valentine is, like, this new serial-killer movie that totally blows. But kind of in a good way. Like, it's funny.
    • 28 Metascore
    • 60 Critic Score
    There's something almost maniacally heroic about packaging the fourth sequel of a superhero action series without resorting to the old standbys of good writing, capable acting or inspired directing.
  2. The funny thing about all this is that a half-hour into Underworld I couldn't wait for it to be over. When it really was over, I couldn't wait for the next installment. Go figure.
  3. Millions of people read Harr's gripping bestseller, but Steven Zaillian may be the only one who didn't understand it.
  4. Director Michael Apted does a smooth, competent job, but like almost all his work, Enigma lacks excitement and a vivid personality.
  5. Whatever the reason, Bean saddles Atkinson with a story that hangs on him like a dead weight and a filmmaking style that surrounds him like dead air.
  6. The Weitzes haven't come up with a masterpiece in Down to Earth, but they have put their stamp on a perfectly pleasant 90-minute diversion
  7. Greenwald isn't capable of the magisterial, mournful manner of, say, Eugene Jarecki's "Why We Fight," but the two films would make a natural double bill.
  8. An endless battle scene in search of a movie. It's every bit as harrowing -- and also every bit as pointless and misguided -- as the botched military mission it depicts.
  9. What's the point of setting up a historical fantasia around an invented character if you're only going to make her part of the scenery?
  10. A sunny, cheerful, thoroughly artificial concoction, going nowhere with no particular speed. Still, better than your average airplane movie.
  11. Not half as clever as its setup leads you to think it might be: It's all buildup and no payoff, the kind of romantic thriller in which if just one sensible character called the police at the moment as any normal human being would -- well, then, you wouldn't have a movie.
  12. An agreeably chewy, pulpy work of old-fashioned crime cinema, a fair bit overcooked and overlong, but worth catching for its acting, its atmosphere and its action set-pieces.
    • 54 Metascore
    • 60 Critic Score
    There's no overt message in this fatuous montage of crowd-pleasing brutality, just double and triple crosses, gory shoot-outs set to ironically cheerful Peggy Lee songs and tons of horrific, technicolor Americana.
  13. It's nearly impossible to tell whether Williams thought he was making a family tragedy or a sex farce.
    • 90 Metascore
    • 60 Critic Score
    Though it may be a much clearer picture of the director's original intent, ultimately the new "Apocalypse Now" merely brings into focus the limits and faults of Coppola's -- and Milius' -- original concept.
  14. Haneke's new Funny Games has a current of bleak humor that comes through more clearly when you're not reading subtitles. It remains a horrifying, implacable mind-fuck, liable to be widely misunderstood and widely despised.
  15. Many years in the making, Freida Lee Mock's documentary Wrestling With Angels paints an intimate and detailed portrait of playwright Tony Kushner, in the years since he became the most important living American dramatist. It's hard to avoid the conclusion that this is something of a booby prize.
    • 69 Metascore
    • 60 Critic Score
    Despite some solid acting and cinematography -- mistakenly turns what should have been a fast-paced thriller into a cerebral sermon about the slippery slope of corporate law.
  16. Disney World, in this incoherent but often amazing work of American psychodrama, has a lot in common with the Overlook Hotel of “The Shining,” the Venice of “Death in Venice” and the booze-soaked Cuernavaca of “Under the Volcano.” It’s a zone of existential dread, the place where masculine dreams go to die, the place where the unburied ghosts of civilization rise up like Mouse-eared, three-fingered zombies and bite us in the ass.
  17. An engrossing, gem-hard little popcorn-cruncher.
  18. An alternately charming and frustrating comic entertainment.
  19. If Christensen's conventional plot is somewhat at odds with her downbeat realism, the idea that these characters are willing to fight like cats and dogs, and destroy each other and themselves, to avoid confronting their intense attraction to each other is totally convincing.
  20. A slack, tepid picture stuck in a no man's land between satire and drama.
  21. This is a tepidly amusing film that will offend no one, including those it claims to skewer.
  22. As visually arresting as Kill Bill often is, there's a stultifying blankness about it. Despite Tarantino's obvious enthusiasms, he comes off jaded and cynical: He's seen plenty of movies, and this is his proof.
    • 62 Metascore
    • 60 Critic Score
    Features one of the rare complex portraits of a therapist.
  23. Preachy infotainment that wants to offer thrills, too -- an uneasy hybrid.
  24. Somewhat entertaining, in its own little mud-brown way.
  25. No director yet has found the best use for Hudson, the role that will tap those terrifying and thrilling reserves that are just lying in wait. But Softley comes closer than anybody has.

Top Trailers