Salon.com's Scores

For 2,944 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Harry Potter and the Prisoner of Azkaban
Lowest review score: 0 The Amityville Horror
Score distribution:
2,944 movie reviews
  1. Might have been a lavish, silly entertainment. In places it comes close, but no sheaf of tobacco.
  2. 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.
  3. Whatever complex or interesting ideas might have been found in the source material have been watered down, skimmed over, mashed into nonsense or simply ignored.
  4. What results is a patchy, uncertain motion picture, full of incidents and images but fundamentally unfocused and superficial.
  5. The picture has no legs, no style, no sense of movement other than the meandering, dawdling kind.
  6. The biggest disappointment of 27 Dresses is that it inhabits a Harlequin romance New York City, one remarkably short on homosexuals and divorce.
  7. First Sunday is simply a case of wasting gifted performers on material that feels slapped together and unshaped.
  8. The movie is neither cathartic nor entertaining. The action scenes (and there are many of them) feel mechanized and calculated.
  9. A limp and dreary experience, at least after you get past its intriguing premise. It's poorly written and woodenly acted, completely formulaic and hopelessly imprisoned by both its genre and finally its form.
  10. Too heavy on applied charm and too flimsy when it comes to plot. The picture has a hapless, meandering quality that's tolerable at first but ultimately becomes maddening, as if it were a cartoon narrative recounted by a distracted 4-year-old.
  11. There's loads of suffering in Sleepwalking, piled on until the picture almost becomes an unintentional comedy.
  12. There's virtually no context provided here, about Lennon or the Beatles or New York or Chapman himself. To put it another way, the film's entire context IS Chapman.
  13. A filmmaker's personal connection to the material doesn't necessarily mean that the resulting picture will be any good, and Stop-Loss is so dramatically tedious that it feels remote instead of resonant.
  14. Even if the actual movie is an awkward, uncinematic mishmash. Waters has at least tried to write a sex comedy that isn't aimed at titty-fixated 17-year-olds, and at its best Sex and Death 101 has a fast, clever rhythm that almost sings.
  15. Dark Matter has neither the technical command of an art-house film nor the manufactured intensity of a grade-B thriller, yet it's also too cheap and dirty to feel like a Hollywood-scale drama.
  16. The picture is humorless and witless. The barrage of allegedly important details is supposed to keep us intrigued, but it barely keeps us occupied.
  17. To his credit, Langenegger keeps things relatively simple instead of resorting to lots of fast cutting and fancy camera angles. To his detriment, the picture he has made barely moves at all. This no-style style isn't restraint; it's a kind of indifference to filmmaking.
  18. There's no energy, no spark, in Made of Honor. Even its clichés -- including a dashing rescue on horseback -- are trotted out with bland indifference.
  19. Mamet's trademark artificial, mutual-incomprehension dialogue and con-game plotting are ineptly matched to the action genre (and feel stale in any case), while the jiu-jitsu scenes are so incoherently shot and edited you can't tell if the fight choreography is any good or not.
  20. As it is, it's too restrained, too often -- too eager to gallop toward postcard sunsets on the beach when tequila shooters and lap dances are what the moment calls for. You'd think the combination of Diaz, Kutcher and Vegas would be good for at least a little sexy, silly fun. But don't bet on it.
  21. Parker IS to blame for the self-consciousness of her performance. She spends much of the movie swanning, not acting: Nearly every movement, every gesture, seems conceived for the benefit of the camera, as opposed to the truth of the character.
  22. The man who showed such promise less than a decade ago has been leaving a diminishing creative footprint ever since.
  23. The picture is resolutely unhip and proud of it, which can be a good thing in the right hands or, in the wrong ones, just a gimmick. Nearly everything about Pineapple Express is a gimmick.
  24. So wearying that it makes you feel duped for being open to it in the first place. Hamlet 2 works so hard at being entertaining, in that quirky, Indie 101 sense, that it just grinds you down.
  25. Miller seems to have brought neither his brains nor his heart (both of which we know he's got) to this project. The style is willing. But the spirit is weak.
  26. Excessively intricate and extremely dull, the latest example of a filmmaker giving us a disjointed, overlong movie that’s unnecessarily confusing to follow.
  27. The movie around Lane and Gere is unreal, a tortured construct, but they open a breathing space in its center.
  28. Thinking back on watching these performers, I see them mostly as an arrangement of bewildered actors awaiting orders, as if Ritchie hasn't bothered to tell them what he needs them to do. He’d sure make a lousy Mob boss.
  29. An extended metaphor for the condition of man, and boy is it extended. In the course of two hours that crawl by like four and a half.
  30. A glum, listless affair that springs to life now and then, only to sag back into its saggy, depressive cushion.

Top Trailers