Salon.com's Scores

For 3,088 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 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 A Dangerous Method
Lowest review score: 0 The Replacements
Score distribution:
3088 movie reviews
  1. In this classy, taut white-knuckler – largely shot inside a real-life decommissioned Soviet sub – Robinson asks us to consider more than the hypothetical possibility that the world nearly ended in 1968. He reminds us that we have no idea how many other near-misses may have happened in the behind-the-scenes history of the modern age and also, more troubling still, that long after the Cold War has faded into memory we continue to have difficulty telling the crazy people from the sane ones.
  2. Stoker, which plays something like a remake of “The Addams Family” mixed with “The Paperboy” — but without the laughs of either – belongs in a special category of movie badness, or perhaps two different but overlapping categories. It’s a visually striking but fundamentally terrible film made by a good or (some would say) great director.
  3. Rubberneck immediately put me in mind of the classic slow burn of vintage thrillers like Fritz Lang’s “M” and Michael Powell’s “Peeping Tom,” although Karpovsky and co-writer Garth Donovan have cited all kinds of other things, from “Michael Clayton” to “Caché” to “Fatal Attraction.”
  4. If it's all reasonably familiar indie-comedy terrain, it's delivered at a brisk, economical clip with plenty of laughs, and a series of running gags that keep getting funnier.
  5. No
    A troubling, exhilarating and ingeniously realized film that’s part stirring political drama and part devilish media satire.
  6. Pretty much three well-staged action sequences strung together with the dumbest imaginable connective tissue.
  7. Identity Thief reaches impressive heights of laziness and idiocy.
  8. It’s masterfully shot and edited, with a brooding soundtrack and a mysterious, dreamlike undertow – and, when all is revealed, it’s not even half as interesting as it seems to be.
  9. Seriously, this is one of the strangest and most painful films in recent memory.
  10. Warm Bodies is more a mild-mannered, emo-flavored romcom than a zombie movie. It has some tepid action scenes, a few swatches of genuine humor and a general spirit of cheerfulness, especially considering it depicts a future in which civilization has been destroyed.
  11. The resulting film is both beautiful and fascinating, and offers a thrilling travelogue through a spectacular landscape few of us will ever see first-hand.
  12. Is this an "indie" film with a deliberately messed-up chronology and an ambitious narrative you'll appreciate even more the second time through? Yes. Is this a deliberately trashy horror-comedy with a few decent jolts and several big laughs, best viewed with a gang of friends and a consciousness-altering agent of your choosing, parasitical or not? That too.
  13. So to call this a good movie is really a stretch; it's more like 38 percent of a good movie. But it probably has just enough dumb fun and pointless violence and car chases to seem like a highly viable option for large numbers of people this weekend.
  14. 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."
  15. As "Birders" makes clear, and as Franzen would surely agree, birds and birders have always been among us and require no reinvention. What they have to offer us is what that heron offered me, for just a split-second – a sense that despite our best efforts we are still a part of nature, and not yet an alien species disconnected from the real world.
  16. This is a lovely film directed with delicacy and taste, profoundly alive to the rhythms of its actors and characters, which gives its superlative British cast of stage and screen legends the time and space they deserve.
  17. As a capable imitation of better movies by Martin Scorsese, Brian DePalma and Roman Polanski – it's reasonably successful entertainment.
  18. I'm not sure whether to recommend The Baytown Outlaws as a guns 'n' glory time-waster or warn you off it as a piece of mendacious trash. So I'll do both.
  19. Both here and in "The Orphanage," Bayona reveals himself as a masterful genre stylist of almost unlimited talent and a storyteller addicted to sentimental happy endings that feel a bit sardonic. Like, it's all OK now – but just wait till next time!
  20. If you have the patience to watch this film develop and unfold, like some bizarre night-blooming orchid, what you'll see is not just the last movie released in 2012, but possibly the most original of them all.
  21. This is an unforgettable love story set at the close of day, as tragic and beautiful in its way as "Tristan und Isolde," and a portrait of the impossible beauty and fragility of life that will yield new experiences to every viewer and every viewing.
  22. A sweeping and magnificent work of cinematic craft, by far the best film of Bigelow's career.
  23. I'm afraid that whoever it was in the New York Film Critics Circle who voted for The Hobbit as best animated film had a point. And so did the people who suspected that this whole thing was a bad idea.
  24. It's entirely sincere and genuinely not terrible. Burns knows the milieu of his suburbanized New York Irish-American characters at a bone-deep level (enough to induce powerful flashbacks in someone of my background), and the tone of regretful, tragicomic, low-key melodrama he strikes is just right.
  25. It's a tight, taut, expertly crafted thriller from a director to watch.
  26. This is a deliberately chilly and nerve-wracking experience, and one of the bleakest portraits of American society seen on-screen in the last several decades.
  27. One of the year's best films precisely because it can't be boiled down to a message or synopsis. It's an exercise in style that risks trashiness in search of transcendence, and it's a sizzling celebration of the power of music, the power of images, and the electric, destructive power of the human body.
  28. I felt like I'd been invited to a seven-course dinner, and all seven turned out to be cake – and then the host insisted on delivering a lecture about how cake would bring me closer to God.
  29. One of the most intriguing tangents in Mea Maxima Culpa involves the Rev. Gerald Fitzgerald, founder of the Servants of the Paraclete, a Catholic congregation established to help priests who were struggling with celibacy, alcoholism and other personal issues.
  30. Great cinema? Hell, I don't know. But one of the most satisfying movies of the holiday season, that much is for sure.

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