Salon.com's Scores

For 2,952 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Gangs of Wasseypur
Lowest review score: 0 Spawn
Score distribution:
2,952 movie reviews
  1. Edward Norton's dopey directorial debut gives interfaith romance a bad name.
  2. An Adam Sandler comedy, which means it bears only a superficial relationship to the customary conventions of moviemaking, and also that there's no use getting all worked up about that.
  3. The most sterile of bodice-rippers, a genteel soap opera in which the sex and intrigue are so muted, so tasteful, that they practically blow off the screen in a scattering of dust.
  4. Middlebrow kitsch, but kitsch straining for respectability and therefore without the energy that can make kitsch entertaining.
  5. So clumsy and crass that it makes you doubt the pleasure of the first movie.
  6. Stupid, empty and -- worst of all -- fantastically boring.
    • 56 Metascore
    • 30 Critic Score
    "Bambi" meets "Godzilla": Disney goes for the goo in a by-turns gory and sappy new epic of computer-generated images.
  7. Even with the outlandish characters, gaudy colors and gay satire, this smug John Waters knockoff can't stand up to the real thing.
  8. Sutherland is the only actor in Fool's Gold who isn't trying too hard, perhaps because he doesn't have to. He's the movie's only treasure, hidden in plain sight.
  9. There's no doubt we need more movies for grown-ups, with jokes that don't hit us over the head, but The Men Who Stare at Goats doesn't fit the bill. At best, it might hypnotize you into a stupor.
  10. Ludicrous trash, but it has style.
  11. There's something offensive about how Mamet continues to win praise as a serious filmmaker with such a joyless picture, a picture that -- intentionally -- gives the audience so little.
  12. No wonder Arlene (Hunt) keeps a bottle of vodka in the chandelier. You would too with this demonic, passive-aggressive, New Age munchkin (Osment) trying to run your life.
    • 42 Metascore
    • 30 Critic Score
    The sort of thing you can't believe anyone would want their name attached to.
  13. You could definitely call it awful, and I'm about to do so, repeatedly and effusively. In fact, One Day is an appallingly bad movie made by talented people who could and should have done much better, but somehow all drove off the cliff together.
  14. Actually, the wonder The Polar Express induces feels something like a coma.
  15. Owen Wilson doesn't have a single good line in the dismal Drillbit Taylor. So how is it that almost everything he does is funny?
  16. If only Leap Year were an anomaly, the kind of picture that comes along only once every four years. Instead, it's yet more evidence that romantic comedies are only getting worse.
  17. Stallone returns in a gangster remake that wears itself (and the audience) out trying to be cutting-edge stylish.
  18. A brain-dead version of a dark and complex work.
  19. 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.
  20. An uninspired, recycled Mafia gags caper.
  21. Ben Stiller, the movie's star, pretty much sinks the whole enterprise.
  22. Isn't particularly assaultive, but it can still make you feel that you never want to see another car chase, explosion or gunfight again.
  23. The movie is so thoroughly lousy. It's loud, brash and obvious, full of car chases and explosions and gunplay.
  24. Between the 12th floor and the 14th floor, boredom awaits!
  25. Shot after shot photographed at wobbly, off-center angles for no particular reason, weigh every action sequence down with super-slo-mo in lame imitation of "The Matrix" or end every single scene with a vertical wipe.
  26. Totally unwatchable if it weren't for Ashley Judd.
  27. If it were terrible, you could at least sink your teeth into it; but Welcome to Mooseport is like a biscuit soaked in water, ready to be gummed instead of chewed.
  28. It's a comedy, a political thriller, a love story: Barry Levinson's Man of the Year tries to be all things to all people and fails on every count -- a little like the generic, ineffectual politicians it's pretending to excoriate.

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