Salon.com's Scores

For 2,875 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 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Far from Heaven
Lowest review score: 0 I Am Sam
Score distribution:
2,875 movie reviews
  1. I'd rate Bubble at no better than a C-plus for artistic achievement and a D-minus for audience appeal. In one sense, it accomplishes its goals efficiently by making you feel, in less than 80 minutes, as if you've gotten permanently trapped in the dead-end, trailer-park lives of its working-class characters. I've never been so grateful to get out of a theater, turn my cellphone back on and plug myself into a $4 Starbucks latte.
  2. Both oversimplifies and overcomplicates Moore's and Lloyd's vision, but it never cuts to the bone. It's a movie drawn with big, bold strokes and very little feeling -- a tracing-paper exercise masquerading as a masterpiece.
  3. What we really need from Stoned, the very thing that it fails to give us, is a sense of Jones as a human being.
  4. If you're trying to reinvigorate the art of the stylish thriller, the movie you come up with needs to be stylish and it needs to be thrilling. Basic Instinct 2, is neither.
  5. The Break-Up doesn't know whether it wants to be a facile, enjoyable date movie or an unnerving examination of the dark, pockmarked underbelly of everything we expect out of romantic relationships, and it settles for a deeply unsatisfying nowheresville.
  6. The problem with contemporary Hollywood isn't that so many of the movies it's churning out are based on formula; it's that so many directors take perfectly good formulas and wreck them with bad filmmaking.
  7. I don't think any of it really hangs together as anything resembling drama, or that Michael is ever a remotely likable character, before or after his day of reckoning. But Adam Sandler didn't get where he is today by making movies for me and Roger Ebert to like.
  8. Babbit is skilled at creating atmosphere and mood, all of it creepy or sodden, and actresses Elisha Cuthbert and Camilla Belle put their hearts into their roles, which are, unfortunately, encased in a sleazoid TV movie of the week tarted up in art-school clothes.
  9. It's an unholy mess, simultaneously too Gothic and too sarcastic, that preaches liberation and delivers only puritanism. It's a craftsmanlike but robotic imitation of "interesting" filmmaking, only in patches, and by accident, the real thing.
  10. A relentlessly gruesome, visually impressive and ultimately not very interesting movie with some pretensions to seriousness.
  11. There's so little love to be found in Dreamgirls. It's a product that promises magic, and yet gives us nothing to live on.
  12. There are so many emotions in We Are Marshall that there's hardly any room for football -- and when we finally get some, even THAT'S clogged with excess feeling.
  13. In this mess of a picture, Timberlake may be the rookie actor, but he's also the one to watch, the movie's North Star. The rest may as well be pinholes in a box.
  14. There are so many problems with Norbit that when you try to pin one down, another one splooges out elsewhere.
  15. 300
    The bigger question to ask about 300 is why, for a supposedly rousing tale of heroism, it's so curiously unaffecting.
  16. Premonition doesn't know when to stop. The picture can't decide between cheap scares or deep thoughts, so it goes for both.
  17. Feels deeply calculated rather than genuinely crazy.
  18. Next is clearly an attempt at a puzzle movie, one of those brainteaser pictures that lures viewers into another dimension, but it doesn't have the momentum, the quick-wittedness, to keep us wondering what's going to happen next.
  19. The picture is so drab and listless that it often feels like punishment, even though Rickman gives a fine performance, one that's heartfelt as well as characteristically elegant (not to mention sexy).
  20. [Georgia Rule] is clearly intended to be an uplifting multigenerational drama about abuse, healing and forgiveness. Yet there's something unsavory about the way it uses a character's emotional and psychological scars as a gimmick.
  21. This is a glazed, inhuman, cluttered piece of work, a storytelling mishmash that buries the considerable charms of its actors under heavy drifts of silt.
  22. The Loss of Sexual Innocence is a failure to be sure, but if it's not exactly a brave one, it's one whose foolhardiness deserves at least half a salute.
  23. Sometimes movies make sense in a logical way; sometimes they make only emotional sense. No Reservations makes no damned sense at all.
  24. Becoming Jane would have been more honest if it had been called "No Sex in the Country."
  25. Before long, El Cantante disintegrates into a stylized jumble -- even a straightforward jumble would have been preferable.
  26. Intended as nothing more than a here-today, gone-tomorrow zany entertainment, and at the very least, it has a good-natured, slightly raunchy spirit about it. But ultimately, it's a hollow enterprise, all ping and no pong. It doesn't bounce; it splats.
  27. The movie chickens out. In the Valley of Elah could have been really interesting -- and really daring -- if it had focused on Hank's realization that his own child, supposedly a good kid, had perhaps committed the kinds of atrocities that would make any decent human being recoil. The movie (which Haggis also wrote) dances around that territory, but doesn't dare to march straight into its terrifying maw.
  28. There's a gloomy quality to The Good Night I sort of appreciated -- much of it was shot in London, although it's supposed to occur in New York -- but after the initial acerbic setup fades, Gary becomes less and less likable and the movie evaporates into nothing.
  29. Might have been a lavish, silly entertainment. In places it comes close, but no sheaf of tobacco.
  30. Ambitious, overbearing and hollow; it goes overboard to impress, yet it never feels truly inventive or imaginative. At best, it achieves a level of clumsy camp.

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