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 Bronson
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
2,998 movie reviews
  1. When has Woody Allen ever been interested in anything besides Woody Allen? He has no interest in bringing out new sides of his actors. Jim Henson's casts had more spontaneity.
  2. This film's dithering, handsome, morally ambivalent Hamlet, is a profoundly unsatisfactory character.
  3. Feels like every other action thriller we've seen in the past three years, only it's more annoying -- and, in some cases, more appalling -- because it's trying so hard to distinguish itself.
  4. What's missing -- apart, of course, from a plot -- is any character development.
  5. What's offensive in Bringing Down the House is the way the jokes have been calculated not to offend.
  6. Sodden and glum, even in those moments where it's supposed to feel funny and light. It makes you feel trapped and flailing as the minutes tick by. If it encapsulates anything, it's the experience of drowning, not waving.
  7. Feels deeply calculated rather than genuinely crazy.
  8. More of a women's-prison movie than a supernatural thriller, and not a very good one at that.
  9. Pontypool is something like a claustrophobic, locked-in-the-barn zombie movie, only almost without zombies.
  10. The bitterness of her new comedy, Loser, comes as a shock. It's not a mean-spirited movie.
  11. Sometimes movies make sense in a logical way; sometimes they make only emotional sense. No Reservations makes no damned sense at all.
  12. 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.
  13. High Crimes does offer good, often sharp and funny work from its two stars. But you can't fake excitement, and it's a lousy feeling to know that the best commercial movie I can point you to right now is this shallow, self-erasing nonsense.
  14. Before long, El Cantante disintegrates into a stylized jumble -- even a straightforward jumble would have been preferable.
  15. The groom is a doofus, the bride has genuine screwball talent -- It's too bad that the movie is so disappointing.
  16. Couldn't be more unhip -- it just never hits the groove.
  17. What we really need from Stoned, the very thing that it fails to give us, is a sense of Jones as a human being.
  18. It's occasionally funny and a lot painful.
  19. The visual originality of The Saddest Music is deceiving: Narratively and spiritually, the movie is bankrupt, even though it's so packed with stuff (including a set of shapely prosthetic glass legs filled with dazzling, fizzy beer) that you can hardly bring yourself to believe that it all adds up to nothing.
  20. Gordon's film is an art-house curio, visually ugly and emotionally and narratively dissonant. Its cheapness and poverty of imagination consistently undermines its ambitions and reduces its complexity to by-the-numbers Freudianism.
  21. What makes The Internship especially unfortunate is that there are pieces of a better, funnier movie lying around here, pretty much unnoticed.
  22. Cassandra's Dream, an earnest meditation on greed, desire, murder and class struggle, is one of Woody Allen's funniest movies in years -- except Allen doesn't know it.
  23. So bad it's almost like performance art, or those cheap records from the '60s, where the Chipmunks sing the Beatles' greatest hits.
  24. There’s enough craft and intelligence at work here that you can’t dismiss Raze as meaningless sadism, but not nearly enough to make it worth the unpleasantness of actually watching it.
  25. Such an inept bundle of work -- crying out for the filmmaking equivalent of Ritalin, but still sluggish as syrup -- that it doesn't even provide an opportunity to ogle properly.
  26. 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.
  27. With The Good German, Soderbergh -- generally a terrific and creative filmmaker -- apes a style, and a way of seeing, that he clearly doesn't understand. It feels like a hit to the stomach.
  28. Anything Else isn't just the latest Woody Allen movie; it's also the smallest. His pictures seem to be getting tinier and tinier, and after you've seen them they leave nothing but a tinny echo and a bad taste. Anything Else is misanthropy writ small. Allen is too stingy to be generous even with his contempt.
  29. For all the filmmakers' talk about reinvigorating the franchise for a new generation, and all their attention to technical details, this is a sloppily conceived remake with no passion for the genre or this story behind it, a movie that assumes its audience is brain-dead and likes it that way.
  30. Year One sets prehistoric comedy back at least 20 years.

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