Salon.com's Scores

For 2,968 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Traffic
Lowest review score: 0 From Justin to Kelly
Score distribution:
2,968 movie reviews
  1. 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.
  2. There's an entertainingly ludicrous movie lurking somewhere inside of the ludicrous, mediocre one this actually is.
  3. 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.
  4. 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.
  5. 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.
  6. A romantic comedy doesn't need to be original to be enjoyable, and yet The Proposal still falls way too short of the mark.
  7. 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.
  8. Isn't assaultive or dumb, just slack and de-energized, as if its batteries start running down in the first frame.
  9. May be very much about feelings, but it's made with a drab, juiceless, tasteful efficiency that distances us from the characters instead of drawing us closer to them.
  10. Any film that begins with one of those fake-news montages, where snippets of genuine CNN footage are stitched together to concoct a feeling of semi-urgency around its hackneyed apocalypse, already sucks even before it gets started.
  11. Its shameless and nonsensical combination of ingredients finally won me over, after a fashion, when I realized that its gung-ho Navy-recruitment propaganda and retrograde gender politics shouldn't be taken any more seriously than the ZZ Top, AC/DC and Billy Squier songs on the soundtrack.
  12. 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.
  13. Lacks any layers beyond its own amiable inconsequentiality. It needs the spark of the distinctively American slapstick craziness that has distinguished Frye's previous work.
  14. 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.
  15. Utterly predictable, thoroughly sentimental and -- worse -- not all that funny. It makes your average episode of "Third Rock From the Sun" look like the edgy mutant offspring of John Waters and Ingmar Bergman.
  16. James Cameron disgraces those who died on the Titanic -- again.
  17. It's hard to care about a valiant groping for accuracy when a story is so badly told you can't tell what the devil is going on.
  18. Ultimately feels somewhat overprocessed, and its humor is a little too broad at times -- it probably crosses the acceptable threshold of penis and boob jokes.
  19. I suspect this picture is pretty close to what fans were hoping for, and for their sake, I'm glad it's markedly better than the two that preceded it. But Revenge of the Sith is still crap.
  20. Excessively intricate and extremely dull, the latest example of a filmmaker giving us a disjointed, overlong movie that’s unnecessarily confusing to follow.
  21. Watching The Producers is simply exhausting.
  22. The picture is mildly entertaining and stringently unoffensive (provided you're not a supersensitive upper-crusty type from Connecticut). Yet it has problems from the start.
  23. Too bad it's not so funny. Almost every gag in Black Knight feels forced and contrived, as if the movie is desperate to squeeze laughs out of us.
  24. This initial “Mortal Instruments” picture has the vibe of a straight-to-video release from the mid-‘90s, except with a $60 million budget and considerable special-effects expertise.
  25. Its spectacular special effects threaten to swallow characters whole, and there are times when overwrought and clumsy dialogue... nearly pitch you right out of the movie's mood.
  26. Works neither as an exuberant rock 'n' roll picture nor as a heroic fable. It will rock you --straight to sleep.
  27. 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.
  28. 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.
  29. The Devil's Own isn't the disaster its bad advance publicity might lead you to expect. But it's a disjointed, sluggish picture.
  30. 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.

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