Salon.com's Scores

For 3,086 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 0.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Armadillo
Lowest review score: 0 House on Haunted Hill
Score distribution:
3086 movie reviews
  1. Fantastic Four doesn't expand on, or even illuminate, anything much beyond the most basic theme of what it feels like to be an adolescent misfit. This is a comic-book movie that actually makes an effort not to go over kids' heads.
  2. An uneven but impressively ambitious picture.
  3. Irritatingly moralistic romantic comedy.
  4. An oddly listless and downbeat affair, setting these two beloved eccentrics adrift in a road movie that's rarely funny enough to connect as absurdist comedy and rarely compelling enough to work as recession-era male-bonding melodrama.
  5. The satire doesn't go far enough.
  6. If a movie can be fascinating and tedious at the same time, Inside Deep Throat -- which more or less depicts the America I have just described -- is that movie.
  7. To say that this undercover operation does not go well is an understatement, and the resulting portrait of the domestic anti-terrorism campaign, although it’s admittedly a portrait in miniature, could hardly be more disheartening.
  8. There's almost no such thing as an entertaining holiday trifle anymore -- the kind of casual, cheerful little picture that you might see on a whim and end up enjoying, even beyond the breadth of your modest expectations. The Perfect Holiday is an attempt, at least, to resurrect the idea of the trifle
  9. Match Point is a fatally neat exercise in detached craftsmanship, and maybe that's the best we can expect from Allen at this point.
  10. Spartan is the same old stuff, but now it's been thoroughly Mametized, like a spray-on treatment you could spritz out of a can.
  11. Humor is notoriously subjective, of course, but I didn't find Young Adult especially funny. It's an intermittently engaging fable of American homecoming that's both intentionally and unintentionally awkward, and flavored from bitter to sour all the way through.
  12. I, Robot strives to be so many things that it ultimately falls away to nothing, a heap of expensive metal parts.
    • 53 Metascore
    • 50 Critic Score
    As light as a squirt of styling mousse.
  13. As lousy as it is, Diary of a Mad Black Woman is weirdly fascinating.
  14. The movie starts out as a sweet piece of hardcore pie, full of energy and "Repo Man"-esque satire, but ultimately deteriorates into a Percodan-flavored "Afterschool Special."
  15. It's a compact and symmetrical picture with all its plot points in the right places, but I never found it convincing in the slightest.
  16. Nolan may want us to believe in the darkness that lurks within each of us, but instead of leading us to it visually, he chops it up and sets it out in front of us, a grim, predigested banquet.
  17. The new black movies make those of us sitting in the theater watching feel as if we actually count for something. That good feeling can carry you through this movie's silly and dull patches.
  18. 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.
  19. The picture has a lax, sleepy vibe: There's never anything taut or electric about it. And so, like Pacino's character, we sleepwalk through it.
  20. Almost utterly defeated by its subject's sardonic stonewalling.
  21. The irony of The League of Extraordinary Gentlemen is that it has the most literate pedigree of any action movie you're likely to see this year or next -- and it's been made by people who seem to have no sense of how to tell a story.
  22. For a big-budget action movie Spider-Man 2 is modest and not assaultive -- it has a boring decency.
  23. 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.
  24. 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.
  25. 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.
    • 57 Metascore
    • 40 Critic Score
    It's as if the whole movie's on Prozac, only in this case the antidepressants are cuteness and romance.
  26. Whether or not Luhrmann’s “Gatsby” will go down in history as a legendary flop is not for me to judge (though all signs currently point toward yes), but it surely belongs to the category of baroque, overblown, megalomaniacal spectacles dubbed “film follies” by longtime Nation film critic Stuart Klawans.
  27. Funny People is an ambitious, misshapen picture that feels like two, maybe even three, separate movies uncomfortably jammed into one.
  28. Mechanical plot that seems dull even before it laboriously clanks and screeches into motion.

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