Salon.com's Scores

For 3,069 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Güeros
Lowest review score: 0 Identity Thief
Score distribution:
3069 movie reviews
  1. Todd Solondz's newest debacle drips with contempt for his audience, his characters and his critics.
  2. 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.
  3. 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.
  4. If Enduring Love doesn't make sense as a thriller, it's equally nonsensical as the parable it wants to be.
  5. 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.
  6. The movie has some sex in it, and yet it's as unsexy as a rusty old olive oil can (minus the olive oil).
  7. Begins as pseudo-realism before descending into weird and mangled wank-job fantasy.
  8. What Picture Perfect sells as romance is a junior high school health class morality lecture we all got years ago. And it was a crock then, too.
  9. Too conventional to capture Kaufman's insanity and too haphazard, too shapeless, to recapture Kaufman's energy in any meaningful way.
  10. Somehow Kutcher and Heigl and Tom Selleck and Catherine O'Hara (as her parents) are all fun to watch a fair amount of the time, without the movie they're in being any good at all.
  11. 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.
  12. 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.
  13. 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.
  14. Boyle's Beach lacks imagination and energy, two things that might have distracted us, at least occasionally, from the material's tepidness.
  15. 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.
  16. Might have been a lavish, silly entertainment. In places it comes close, but no sheaf of tobacco.
  17. Lost the friskiness and wildness and charm the movie might have had.
  18. Just a bad movie, with more bits of good acting and flashes of director's invention than you get in most bad movies.
  19. The movie is a lumbering load of hokum, but unlike those other recent pop star white elephants -- it's at least watchable.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. Isn't particularly offensive, except in its total mediocrity.
  25. A wildly uneven and sloppily directed movie, full of clashing tones and undigested bits of superior films.
  26. 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.
  27. 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.
  28. 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.
  29. What results is a patchy, uncertain motion picture, full of incidents and images but fundamentally unfocused and superficial.
  30. 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.

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