Salon.com's Scores

For 2,927 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% 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: 62
Highest review score: 100 Ten
Lowest review score: 0 The Amityville Horror
Score distribution:
2,927 movie reviews
  1. A pitch-perfect blend of darkness and sweetness, built around a masterful performance by a great actor.
  2. What he (Beauvois) conveys, through austere but spectacular visual language, magnificent liturgical singing and an ensemble cast headed by the terrific French veteran actors Lambert Wilson and Michael Lonsdale, is something of the "why."
  3. Jane Eyre is a passionate, impossible love story, one of the most romantic ever told. But it's also a cold, wild story about destruction, madness and loss, and this movie captures its divided spirit like none before.
  4. In this quiet, beautiful and terrifying fable about a group of lost pioneers, Reichardt combines epic ambition with a focus on intimate, personal detail.
  5. It's a brilliant work of cinema, a nonfiction film as intense and visceral as any drama, and an emotional and moral experience that feels horrifying and exhilarating at almost the same moment.
  6. My first thought was: It's a temple, a church, a cathedral -- maybe the first one ever built -- and the better-known ones in Rome and Jerusalem and Istanbul are just later versions of the same thing.
  7. Visually spectacular, with wide-screen cinematography from Nobuyasu Kita, impressive, full-scale sets and special effects and exhausting, immersive action scenes, 13 Assassins is pretty nearly the samurai classic it sets out to become.
  8. If it plays in any theaters beyond New York and Los Angeles, that'll probably come as a surprise to its distributor (the estimable Lorber Films). None of that diminishes the power and intensity of this claustrophobic mini-masterpiece of the Japanese antiwar tradition, which blends a B-movie aesthetic, brilliant use of montage and documentary elements and a scathing critique of nationalism and militarism.
  9. More broadly this is a resonant, vivid and finally heartbreaking tale about the universal difficulty of marriage and the endless self-delusion of the human condition, driven by a trio of amazing dramatic performances.
  10. Under the guise of being nothing more than a quasi-documentary about two comedians cutting up and scarfing gourmet cuisine, The Trip may be the wryest and most affecting of all the recent movies about middle-aged male angst.
  11. A stereotype-shattering movie that's full of them, and one that may permanently change the way you think about violent crime in America.
  12. Once you start to ride with the rapturous, gorgeous, digressive symphony of images and words and music in this film it's completely absorbing and unlike anything you've ever seen.
  13. It's first and foremost a visual and sonic symphony, and a Dante-esque journey through a New York nightworld where words are mostly useless or worse.
  14. A ravishing, emotional and often very funny film about a wedding gone wrong, the end of the world and a woman suffering from profound depression.
  15. It's a handsome and stimulating film, noteworthy more for its terrific acting and provocative ideas than for any kind of dark Cronenbergundian genius.
  16. Instead of sticking with the familiar, Scorsese has followed his impulses into something that feels entirely new but is still distinctively his. He has made a potential holiday classic, an exciting, comic and sentimental melodrama that will satisfy children and adults alike and reward repeat viewings for many years to come.
  17. Fiennes' crackerjack Coriolanus stays true to the clever, almost mean-spirited twists and turns of the story, and preserves the authentic flavor and texture of the language.
  18. The most exciting action flick of the year, by a huge margin.
  19. Something close to a contemporary masterwork, and maybe the best foreign-language film of the year, right at the tail end.
  20. You don't have to know the first thing about modern dance to be transported to an alternate state of consciousness by Pina, which is utterly free of Wenders' cloying sentimentality (perhaps because it's an elegy for a dead friend) and might be the first of his films I've loved all the way through since his 1987 masterpiece, "Wings of Desire."
  21. Any way you slice it, it's a brave and brilliant act of defiance.
  22. A breakthrough movie after its own fashion, a mysterious existential thriller that's brilliantly acted and masterfully directed, without a second of wasted screen time.
  23. Rapturous and hilarious.
  24. Easy Money may well be the crime film of the year, or the decade.
  25. If The Dark Knight Rises is a fascist film, it's a great fascist film, and arguably the biggest, darkest, most thrilling and disturbing and utterly balls-out spectacle ever created for the screen. It's an unfriendly masterpiece that shows you only a little circle of daylight, way up there at the top of our collective prison shaft - but a masterpiece nonetheless.
  26. Mythic, thrilling and brilliantly made motion picture.
  27. This is an elegant, powerfully emotional and courageous film, worth seeing entirely on its own artistic terms, and also for what it conveys about the complexity of African-American life and the resurgence of African-American cultural expression.
  28. Whatever sense you make (or don't) of the spectacular, hallucinatory Holy Motors, it's the coolest and strangest movie of the year, and once it gets its druglike hooks in your brain, you'll never get them out again.
  29. Its too-muchness is also the source of its power; I was absolutely never bored, and felt surprised when the movie ended. It's an amazing, baffling, thrilling and (for many, it would appear) irritating experience, and for my money the most beautiful and distinctive big-screen vision of the year.
  30. Whatever moment of inspiration caused Spielberg to cast her (Sally Field) as Mary Todd Lincoln, it was sheer genius, because this is a role that demands bigness.

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