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 Traffic
Lowest review score: 0 From Justin to Kelly
Score distribution:
2,970 movie reviews
  1. Footnote has two of the best performances I've seen in world cinema over the past year: One from Shlomo Bar Aba (apparently best known in Israel as a stand-up comic and stage actor), playing the aging, bitter philologist Eliezer Shkolnik, and the other from Lior Ashkenazi, one of the country's best known movie stars, as his son and rival, Uriel.
  2. A moving, surprising and provocative baseball flick that rises immediately to No. 1 with a bullet on my personal list.
  3. Absolute dynamite.
  4. It's an electrifying, suspenseful film, full of street-level political drama.
  5. Holds us in a state of horrified empathy.
  6. This is a true fairy tale, and one of the finest fantasy pictures ever made, but please do not take your young children to see it unless you want them to be scarred for life.
  7. A chilly, fascinating thriller at odds with itself.
  8. Every single actor here rises to the occasion.
  9. Full of imaginative, outrageous and egregiously insulting 3-D gags.
  10. Foxcatcher is another strange and compelling anthropological drama from Miller, a director with evident expertise at enabling Oscar-worthy star performances.
  11. This movie may not have the highest production values you've ever seen, but it's the work of an artist, one whose view of America, history and the awkwardness of human life is generous and deep.
  12. From moment to moment, O Brother, Where Art Thou? is a pleasure. But when the Coens are really cooking, when the acting and the conception and the music all come together, it's something more -- Dogpatch rapture.
    • 85 Metascore
    • 90 Critic Score
    The film is a pleasure, which the real thing was not. It's also a chilling adventure and a compelling story from beginning to end.
  13. The Great Beauty is an ironic and passionate near-masterwork, like a nine-course dessert that makes you entirely forget the meal.
  14. Consistently interesting without feeling essential until, in its last half-hour, it becomes utterly compelling.
  15. A haunting, beautifully told tale about a genuine American original.
  16. Citizenfour is both an urgent tale torn from recent headlines and a compelling work of cinema, with all the paranoid density and abrupt changes of scenery of a John le Carré novel.
  17. With this sober, mournful, gorgeously mounted and marvelously acted drama, Miike connects himself to the greatest traditions of Japanese film and to the period of historical self-examination that followed the debacle of World War II. And he also crafts one hell of a fable of heroism.
  18. Sin City is the first mainstream American picture I've seen this year that feels even remotely brash or original. It's a hard, viciously funny little movie, one with all the subtlety of a billy club. But there's artistry here.
  19. It's a tight, taut, expertly crafted thriller from a director to watch.
  20. It's hard to say why The Station Agent sends you out feeling so benevolent. It may have something to do with being in the presence of a director who treats you with respect. McCarthy allows us to feel without telling us how and what we should feel.
  21. Robert Altman's surpassingly beautiful ballet movie feels lighter than air -- but in fact it's the great director's most tender and memorable film in years.
  22. Ida
    What makes Ida remarkable is how much Pawlikowski is able to accomplish in just 80 minutes, with a pair of mismatched female characters, a handful of wintry and desolate locations, the square-format cinematography of Ryszard Lenczewski and Lukasz Zal, and a soundtrack that combines modernism, Soviet-bloc pop music and a haunting performance of John Coltrane’s “Naima” that seems to capture all the emotional possibilities the characters cannot express.
  23. Sordi is an elegant comic actor in the vein of America's William Powell; the world may confound him, but it can never rumple him.
  24. This is Bond as we've never seen him, more naked, alive and mysterious than ever.
  25. Force Majeure is a prickly moral comedy for grown-ups, full of sharply observed moments, spectacular scenery and masterfully manipulated atmosphere. This is very much a work of 21st-century global culture, but also one that draws on the great cinematic tradition of northern Europe, with hints of Ingmar Bergman, Eric Rohmer and Michael Haneke.
  26. Applause may present as gritty European realism, but the struggle inside Thea is almost theological in scale, and worthy of Milton or Kierkegaard.
  27. This is a solid, spellbinding drama based closely on real history, which along the way offers a not-so-subtle commentary on the diverse, immigrant-rich society of contemporary France.
  28. The Kids Are All Right ranks with the most compelling portraits of an American marriage, regardless of sexuality, in film history.
  29. Although Josh Olson's script was originally based on a graphic novel by John Wagner and Vince Locke, it has now unmistakably become a Cronenberg movie, and one of his finest.

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