Salon.com's Scores

For 2,970 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Trouble the Water
Lowest review score: 0 House on Haunted Hill
Score distribution:
2,970 movie reviews
  1. I can't imagine anyone not being both horrified and fascinated by Stanley Nelson's Jonestown: The Life and Death of People's Temple.
  2. A haunting and riveting work, unlike anything else you can see at the movies and as such an explicit challenge to the unambitious, anesthetic character of most contemporary cinema. But is it easy, or delightful, or fun? It is not.
  3. Dore does not gloss over the ideological excesses or internal quarrels of feminism, but more than anything else she captures the excitement of that era, the growing sense of solidarity as more and more women discovered that their dissatisfaction was not an individual matter.
  4. At a time when our country feels divided to the point of cracking, Dave Chappelle's Block Party feels like a salve. It's a defiant act of optimistic patriotism.
  5. A masterful accomplishment...teems with its own sense of life, crackles with daring, walks the tightrope between satire and pathos with a rare assuredness.
  6. Nightcrawler executes its ideas with tremendous craft and cool, and the courageous and counterintuitive pairing of its leads — Russo is 60, and Gyllenhaal 33 – produces two electrical, interlocking performances and undeniable erotic chemistry.
  7. Monster is a compassionate picture without any obvious agenda. And it's effective precisely because it's not a polemic.
  8. Both a wrenching journalistic exploration of real life and something close to great cinema.
  9. A wrenching, funny and wise little picture, with a diva-like junior star at its center.
  10. Most famously, Belafonte ignited immense controversy both within and without the black community by repeatedly suggesting that Colin Powell and Condoleezza Rice were the "house slaves" of the George W. Bush administration.
  11. It's a funny, strange, sad and wonderful picture, packed with delightful performances by Hollywood stars and made by a director with a startling facility for the form and an expansive cinematic imagination.
  12. Something we haven't seen before: a manic-depressive romantic comedy that aspires to the soul of a musical. It's a new-fashioned love song.
    • 86 Metascore
    • 90 Critic Score
    Absolutely devastating filmmaking that makes you simultaneously feel the glory and the absolute futility of war. [Director's Cut]
  13. The film works on its own as an unfussy, passionate and gently erotic love story that never tips into sentimentality.
  14. So much modern animation is technically brilliant and yet comes off as cold and indifferent. But Wallace, Gromit, and the people and creatures in their world always look warm to the touch. Someone made, and moved, all those bunnies by hand. It's impossible NOT to believe in them.
  15. Smolders with more reserved passion than "Crouching Tiger, Hidden Dragon."
  16. Almost as exhilarating as it is depressing. Puiu's filmmaking technique is remarkable, and all the more so because it's almost invisible.
  17. Not only does this film gloriously fulfill the potential that Ira Sachs has tantalized movie-lovers with for years, it also help explains what took him so long. Out of lost love comes a terrific work of art; it's the oldest story in the world, but it always feels new when it's done right.
  18. Above all a cracking good yarn that earns its laughter, its wonder and its tears.
  19. I suppose the perfect ending to the chapter would be to report that The Beaver is a masterpiece. It isn't quite, but it does offer an astonishing and resonant performance by Gibson, who spends most of the movie playing two simultaneous characters, often in the same shot.
    • 85 Metascore
    • 90 Critic Score
    This dizzying saga of the '80s Manchester music scene is garish, reckless, endlessly self-indulgent and totally untrustworthy. What a blast!
  20. What feels at first like a quiet, straightforward picture builds into one of the richest and most satisfying of the year so far, in any genre or any language.
  21. It’s a career-capping performance by Dern, who is so convincing as an addled, drunken, embittered and probably dying man that he doesn’t appear to be acting, but Forte is just as good playing a preoccupied, emotionally constricted man-child.
  22. But Bad Santa does feature one last turn from the late John Ritter as a twittery department-store manager (his name, Mr. Chipeska, is a stroke of brilliance that I still can't quite put my finger on).
  23. All I can say about Timberlake's performance as the thoroughly odious, desperately seductive, textbook-case metrosexual Parker is that he brings so much reptilian fun that he unbalances the movie, almost fatally.
  24. In the case of French actress and director Valérie Donzelli's striking and imaginative film Declaration of War, the autobiographical element is so strong that the movie's virtually a docudrama – but a dazzlingly strange docudrama with musical numbers, choreographed interludes and prodigious cinematic verve.
  25. It's a difficult film to follow and at 172 minutes is maybe a half-hour too long. But simply as a sensory experience The Fast Runner is amazing.
  26. One of the most poetic comic-book adaptations to come along in years, yet it never loses its sense of lightness and fun -- del Toro gives it just enough screwball nuttiness to keep it from bogging down.
  27. Ramis has made a fleet, unself-conscious, eminently enjoyable picture, where one-liners carom merrily like stray bullets, and where there's casual ease, like the drape of a sharpster's trousers, in the rapport between its two stars.
  28. This really is Cruz's movie: Almodóvar is her North Star -- following his lead, she's always found her surest and most graceful footing as an actress.

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