Salon.com's Scores

For 2,878 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 12 Years a Slave
Lowest review score: 0 I Am Sam
Score distribution:
2,878 movie reviews
  1. The direction on Johnson Family Vacation is numbingly slack; the synapses between the scenes don't spark effortlessly, as they should, and the whole enterprise feels dragged-down and belabored.
  2. If you can get past the goofy writing, there's lots of noisy action in The Punisher, but little of it is particularly exhilarating. In fact, it's more of an endurance test. If you can sit through it, you should consider yourself duly punished.
    • 51 Metascore
    • 30 Critic Score
    In this bizarrely discordant mixture of ultraviolent action footage, bad acting, crisp special effects and futuristic camp, the remnants of Heinlein's rhetoric of military pride stick out like a grimy Marine uniform at a high-toned Hollywood party.
    • 59 Metascore
    • 30 Critic Score
    A colossally dumb epic that happily traffics in third-hand imagery and ideas while feeding its audience maintenance level doses of humor, adrenaline and spectacle.
  3. Probably the worst-directed film Spielberg has ever made. A peculiarly rhythmless piece of work, it seems to go on forever, though nearly every one of the scenes is cut off before it has been dramatically developed.
  4. Unless you're a lover of tigers, there's probably no reason to see Jean-Jacques Annaud's Two Brothers. And maybe not even then.
  5. Moore's supporters are quick to impugn the liberal credentials of anyone who criticizes his presentation of the information he digs up (or, in some cases, makes up). For them, Michael Moore is the issues he talks about, so his detractors must be enemies of democratic principles. It's an old trick, akin to the way Pauline Kael was accused of being insensitive about the Holocaust when she didn't like "Shoah."
    • 78 Metascore
    • 30 Critic Score
    Sayles speaks the language of cinematic formula so automatically -- his reunited lovers slow dance to a jukebox in a dark, deserted cafe and wait unannounced outside each other's workplaces when they want to talk -- that he's forgotten that real people don't do this stuff.
    • 42 Metascore
    • 30 Critic Score
    The sort of thing you can't believe anyone would want their name attached to.
  6. Middlebrow kitsch, but kitsch straining for respectability and therefore without the energy that can make kitsch entertaining.
  7. It's a shame when an actor like Sylvester Stallone, who's always at his most appealing when he just hunkers down and lets himself be a big galoot, feels he has to make a bid for respectability.
  8. The real mystery at the heart of M. Night Shyamalan's latest: How does he persuade actors like Sigourney Weaver and Adrien Brody to act in his supremely lame movies?
  9. The movie can't distinguish between what's likable and human and funny and what's simply repellent. In that respect, it's just as indiscriminate as the reality TV it shakes its finger at.
  10. Suspect Zero is loaded with cheap thrills for the expensively educated.
  11. Takes plenty of twists and turns, each so implausible and silly that you have no interest whatsoever in finding out what the next one will be. The director, Paul McGuigan, is fond of fancy split-screen effects and stylish, snappy cutting, but he can't tell a story to save his life.
  12. The picture starts off slick and amusing, gets convoluted, draggy and strange round about the midway point, and ends up just plain ludicrous.
  13. So bad it's almost like performance art, or those cheap records from the '60s, where the Chipmunks sing the Beatles' greatest hits.
  14. Actually, the wonder The Polar Express induces feels something like a coma.
  15. So clumsy and crass that it makes you doubt the pleasure of the first movie.
  16. It's hard to discern exactly whom this holiday tripe is for.
  17. The pacing is off, the emotional tone is wobbly, and none of the actors seem to be acting in the same style or the same movie.
  18. This film "Phantom" takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat.
  19. Stay away from this cautionary tale about the gay porn industry -- it blows.
  20. The movie is like a well-intentioned designer knockoff that doesn't know when to quit.
  21. Pulp needs a pulse -- without one, it's DOA. No matter how hard some of its actors work to resuscitate it, Assault on Precinct 13 is as lifeless as a corpse on a slab.
  22. Cinderella Man is ostensibly the kind of old-fashioned drama that sends audiences home with a satisfied glow. But like so many of Howard's movies, there's something canned and phony about it -- it left me feeling cooked and dehydrated, as if I'd fallen asleep on a tanning bed.
  23. It's desperately lifeless.
  24. It's not merely that Dear Wendy was shot on Danish and German locations that don't look quite right; it's that almost every decision made by the production designers is wrong, or at least discordant.
  25. The movie works neither as a comedy nor as a lame melodrama -- its entertainment value is embarrassingly feeble.
  26. There's so little sexual chemistry between the actors in this film that it seems like a kind of accomplishment. I've seen shows on C-SPAN that were hotter than this.

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