Salon.com's Scores

For 2,998 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Amour
Lowest review score: 0 House on Haunted Hill
Score distribution:
2,998 movie reviews
  1. The movie is a garage-sale conglomeration of anecdotes and oddballs.
  2. As is generally the case with Hollywood movies that use Asian horror films as their inspiration, the Guard brothers seem to have glanced at the original, borrowed a few images and then made the movie according to some preconceived template of what makes audiences jump -- instead of burrowing into the stuff that haunts our dreams.
  3. Never have a great historical hero's accomplishments seemed so inconsequential, or so damned hard to figure out.
  4. 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.
  5. Too jumbled to become the major pop hit it wants to be. But it's not an entirely bad film despite its lack of coherence. Horror aficionados and other midnight-movie fans shouldn't miss it.
  6. 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.
  7. 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.
  8. The plot is so convoluted that missing even five minutes at a stretch won't make any difference in your comprehension of the story.
  9. Robert De Niro and Frances McDormand almost rescue this lifeless, clichéd cop drama! Close isn't good enough!
  10. Bale gives a remarkable performance in a movie I can recommend to no one, because the sight of him is more distressing than any of the allegedly deep themes of the picture.
  11. The doggie in Darling Companion is a big, warm bundle of puppy love; his owners are lost forever in a big chill.
  12. A movie that wants to be "Speed" so badly that it runs roughshod over the essentials, including a decent script.
  13. The most dispiriting thing about Gloria is that it's further evidence that filmmakers just don't know what to do with Sharon Stone.
  14. Amelia is a stunted epic, an ambitious and handsome-looking picture that tells its story in the dullest, most confusing way possible.
  15. Needs much more energy and kinetic flow -- less dolor and more dolomite.
  16. An offshoot of a popular computer game, is really all about inducing visual awe. And for the first few minutes, it does.
  17. An awkward and distinctly unsexy farcical misfire.
  18. What I see in The Avengers, unfortunately, is a diminished film despite its huge scale, and kind of a bore.
  19. Toback's method of presenting the evidence without judgment backfires, finally appearing just as shapeless as the movie's structure.
  20. For the most part "Inception" is a handsome, clever and grindingly self-serious boy-movie, shorn of imagination, libido, spirituality or emotional depth. Nolan establishes a fascinating world, loaded with trapdoors, symbols and hidden secrets, and then squanders the opportunity on an overpriced "Twilight Zone" episode.
  21. Given the debased standards of action cinema these days this might be enough to make The Town a hit. But almost everything else about the movie is badly off balance, starting with Affleck's decision to cast himself as the implacably sexy and good-hearted Doug.
  22. Proceeds at such an amiable pace and features enough creepy-crawly effects that many viewers won't quite notice or care how rickety and second-rate it is.
  23. First Sunday is simply a case of wasting gifted performers on material that feels slapped together and unshaped.
  24. The Hunger Games has some cool moments here and there, and is never entirely dreadful. Lawrence is both radiant and triumphant. They haven't screwed it up badly enough to kill it, although they've tried.
  25. Todd Solondz's newest debacle drips with contempt for his audience, his characters and his critics.
  26. 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.
  27. A dispiriting and thoroughly ineffective romantic comedy, with some juicy morsels provided around the edges by a great supporting cast but no heat whatever in the central coupling between Lopez and Aussie TV hunk Alex O'Loughlin.
  28. If Enduring Love doesn't make sense as a thriller, it's equally nonsensical as the parable it wants to be.
  29. 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.
  30. The movie has some sex in it, and yet it's as unsexy as a rusty old olive oil can (minus the olive oil).

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