Salon.com's Scores

For 3,070 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 The Amityville Horror
Score distribution:
3070 movie reviews
  1. It's a good-natured if flimsy comedy that, at the very least, suggests that Murphy hasn't completely lost whatever made him funny in the first place.
  2. Well-meaning but remote picture.
  3. Warchus seems as at ease with the complexity of the style as he is with directing actors.
  4. Lee Daniels’ The Butler is big, brave, crude and contradictory, very bad in places and very good in others, and every American should see it.
  5. This version of the Potter saga is fun and harmless rather than memorable or imaginative. That's certainly no crime.
  6. Sabotages itself by trying too hard. The worst of it is that Maybe Baby feels very much like an Englishman's attempt to make a Nora Ephron movie, all warm and squishy in a decidedly American way.
  7. If a movie can be both exciting and boring at the same time, that movie would be Unstoppable an adrenaline-infused runaway-train flick that perfectly distills director Tony Scott's talents and limitations.
  8. Crass, stupid and crudely made. It's also, in places, weirdly brilliant, a picture that plays to the largest possible audience with mechanical efficiency but also, here and there, betrays glimmers of self-deprecating cleverness, as if it were striving, perhaps even unconsciously, to transcend its own dumbness.
  9. You can choose to understand The Force Awakens as an embrace of the mythological tradition, in which the same stories recur over and over with minor variations. Or you can see it as the ultimate retreat into formula.... There are moments when it feels like both of those things, profound and cynical, deeply satisfying and oddly empty.
  10. The resulting film directed by Scott Hicks is afflicted by terminal nostalgic drift. You come out of the theater with nothing more specific than half-pleasant memories of baseball gloves, Ferris wheels and vintage automobiles. I've had naps that were more exciting.
  11. As a pleasant domestic comedy/action-adventure that, refreshingly, doesn't seem to hate its characters, Date Night is just fine. But is it good enough to merit hiring a baby sitter? I'd rather have some potato skins at the Teaneck Tavern.
  12. Obviously influenced by the style of Robert Altman's multi-character extravaganzas, Robbins has seized on this incident as the centerpiece in a carnival about the conflicts among art, politics and commerce.
  13. A tantalizing and beautiful picture made with tremendous integrity, and anchored by two marvelous performances, Isabel Coixet's The Secret Life of Words still, somehow, doesn't quite work.
    • 67 Metascore
    • 60 Critic Score
    Of course Spike Lee has the right to transcend movies about race. He also has the talent to do better than this plodding moral fable.
  14. Tower Heist is funny in the way of so many Hollywood comedies, meaning that individual scenes are often crisply written and played, but the whole doesn't add up to anything.
  15. It's so almost moving -- a meticulously crafted mechanical bird -- that it nearly feels like the real thing.
    • 55 Metascore
    • 60 Critic Score
    The bad news is that Pitt, despite this film's high-minded intentions (there are Yo-Yo Ma cello solos on the soundtrack, and China expert Orville Schell acted as an advisor during the shoot), or more likely because of them, finds himself trapped in a long, earnest movie that fails to ever feel very alive.
  16. By the end of Trembling Before G_d, you desperately wish that at least some of DuBowski's subjects would see the light.
  17. An odd and not wholly successful little comedy. Its pacing is slack, and although it has a gentle heart, it treads so gingerly across the minefield of potential offensiveness that it sometimes snuffs out its sparks of life as quickly as it throws them off.
  18. Mick Jagger acts his age, finally, in an entertaining but ultimately disappointing fable.
  19. Braff, and Garden State, give it the old college try, and at least some, if not all, of the sparks catch. Even if the movie doesn't quite take off, it doesn't leave you feeling stranded, either.
  20. Absolute Wilson changed my views of Wilson as a person tremendously, and at least gave me some useful context for his art.
  21. Might have been an oversized Hollywood dazzler. Phoenix keeps it firmly and modestly on a human scale.
  22. Now that Woody Allen is no longer making acceptable Woody Allen movies, it's surprising we're not seeing more comedies like Prime, a slight but well-meaning picture that strives for the same kind of pleasurably neurotic sophistication that Allen, at his best, used to give us.
  23. It's a perfectly cheerful time at the movies, without any hint of drama or surprise.
  24. It's a generically enjoyable action film with a bit of hardboiled based-on-a-true-story-ness about it, and since it's set in the '80s and feels like an '80s movie, it seems a lot like something you must have seen years ago.
  25. A not-very-good movie about a fascinating and underexplored subject: the unknowability of a marriage.
  26. I simultaneously want to endorse its ambition and nerve and report that it's a very mixed bag.
  27. Defiance comes off as plodding and workmanlike -- and even in the midst of Zwick's too-careful machinations, it's a movie that's unsure of what it wants to be.
  28. The singer Pink, also known as Alecia Moore, here plays Dede, one of the group’s only female members, and the connection between Dede and Neil, which at first stretches credibility to the breaking point, may be the best thing about “Thanks for Sharing.”

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