Salon.com's Scores

For 2,961 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 Gangs of Wasseypur
Lowest review score: 0 Crush
Score distribution:
2,961 movie reviews
  1. An exercise in edgy tedium, and even though it's only 90 minutes or so, it seems to last longer than an actual transatlantic flight. If you bring an eye mask and a few sleeping pills, you should get through it OK. A magazine or book wouldn't hurt, either. It'll be over before you know it.
  2. Does neither of its leads any favors. But they fill their roles admirably, and then some. Time and again, in a movie that repeatedly threatens mawkishness, you can sense them gently steering away just in the nick of time.
  3. The hit-to-miss gag ratio is atrocious, and we spend most of the movie hanging out with these borderline-agreeable characters, waiting for something to happen.
  4. Boyle's Beach lacks imagination and energy, two things that might have distracted us, at least occasionally, from the material's tepidness.
  5. This one has its technical virtues, but it’s frankly kind of a muddle, and may have been doomed from the outset. I would divide the potential audience for Oldboy into two groups: Those who will be disappointed and those who will be bewildered.
  6. Might have been a lavish, silly entertainment. In places it comes close, but no sheaf of tobacco.
  7. Lost the friskiness and wildness and charm the movie might have had.
  8. Just a bad movie, with more bits of good acting and flashes of director's invention than you get in most bad movies.
  9. The movie is a lumbering load of hokum, but unlike those other recent pop star white elephants -- it's at least watchable.
  10. Everything about it, except the valiantly lifelike Lopez, feels stiff and robotic and mindlessly crowd-pleasing, as if it were a comedy made by a committee instead of a human being.
  11. The Wolfman isn't crazy enough to be fun or multilayered enough to be touching. It's impossible to have any real feeling for this anguished beastie.
  12. The frustrating thing about Catwoman is that Berry does her damnedest to make the character work. Some of her physical moves are astonishing: Her offhanded grace is exceedingly catlike.
  13. iIt sits on the screen in the flattest way imaginable, and the brightest colors in the world can't make up for all that's missing. 8 Women is perfumed kitsch, and it reeks.
  14. Isn't particularly offensive, except in its total mediocrity.
  15. A wildly uneven and sloppily directed movie, full of clashing tones and undigested bits of superior films.
  16. O'Connor chucks away everything that was interesting or dark or subtle in Warrior and replaces it with a pseudo-individualist, sub-Freudian, Tea Party-friendly fantasy.
  17. The problem with Kate & Leopold is that although this is supposed to be a romantic comedy, the best scenes are the ones in which there's no Ryan.
  18. But in the end conventional sentiment, rather than any actual morality, is all that the script for The Family Man (by David Diamond and David Weissman) has to offer.
  19. What results is a patchy, uncertain motion picture, full of incidents and images but fundamentally unfocused and superficial.
  20. I can't recall ever having seen a single bad Ice Cube performance, and his utter charm even in flimsy material like this only reaffirms his gifts.
  21. A relentlessly gruesome, visually impressive and ultimately not very interesting movie with some pretensions to seriousness.
  22. Elephant is not as bad as the National Rifle Association's decision to hold a pro-gun rally near Columbine High School shortly after the killings. Unlike the NRA, Van Sant doesn't have blood on his hands. But he shares something of its callousness.
  23. 300
    The bigger question to ask about 300 is why, for a supposedly rousing tale of heroism, it's so curiously unaffecting.
  24. It gets much more watchable in the last half-hour.
  25. 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.
  26. There's an entertainingly ludicrous movie lurking somewhere inside of the ludicrous, mediocre one this actually is.
  27. Spins toward its glum, dishwater-gray whirlpool of an ending, which doesn't have nearly as much emotional punch as it should. It doesn't leave you feeling spent -- only soaked.
  28. 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.
  29. Singleton's words are no fitting match for his visuals, and his metaphors are so heavy-handed -- they undermine the smart subtlety of the direction.
  30. A romantic comedy doesn't need to be original to be enjoyable, and yet The Proposal still falls way too short of the mark.

Top Trailers