Salon.com's Scores

For 2,900 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Hellboy II: The Golden Army
Lowest review score: 0 I Am Sam
Score distribution:
2,900 movie reviews
    • 42 Metascore
    • 30 Critic Score
    The sort of thing you can't believe anyone would want their name attached to.
  1. Middlebrow kitsch, but kitsch straining for respectability and therefore without the energy that can make kitsch entertaining.
  2. 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.
  3. 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?
  4. 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.
  5. Suspect Zero is loaded with cheap thrills for the expensively educated.
  6. 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.
  7. The picture starts off slick and amusing, gets convoluted, draggy and strange round about the midway point, and ends up just plain ludicrous.
  8. So bad it's almost like performance art, or those cheap records from the '60s, where the Chipmunks sing the Beatles' greatest hits.
  9. Actually, the wonder The Polar Express induces feels something like a coma.
  10. So clumsy and crass that it makes you doubt the pleasure of the first movie.
  11. It's hard to discern exactly whom this holiday tripe is for.
  12. 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.
  13. This film "Phantom" takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat.
  14. Stay away from this cautionary tale about the gay porn industry -- it blows.
  15. The movie is like a well-intentioned designer knockoff that doesn't know when to quit.
  16. 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.
  17. 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.
  18. It's desperately lifeless.
  19. 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.
  20. The movie works neither as a comedy nor as a lame melodrama -- its entertainment value is embarrassingly feeble.
  21. 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.
  22. Challenges us to believe in the power of myth. But the big challenge here is surviving the tedium of Shyamalan's meandering inventiveness. What's supposed to be fanciful storytelling is really just audience punishment.
  23. It would be destined for the trash heap of Shakespeare adaptations, if not for its female lead, and its heart, 17-year-old Claire Danes.
  24. 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.
  25. It sometimes produces moments of unexpected power. It also produces a bizarre and fatally uneven movie, veering from black comedy to utter stupidity to maudlin religiosity, which seems to have been made in total defiance of both narrative conventions and emotional logic.
  26. 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.
  27. Director Cook and screenwriter Anthony Frewin were both intimates of the real Kubrick, which I guess counts for something. But for what, exactly? Does it uniquely qualify them to make a mean-spirited, trashy and intermittently funny film about a guy who wasn't Kubrick?
    • 44 Metascore
    • 30 Critic Score
    Instead of effervescent and mercurial, the movie is simply muddled. Lee has far too much skill to be delivering work that so often degenerates into incoherence.
  28. Bug
    A humorless picture, a somber, arty exercise in deep denial of its exploitation roots. The dialogue is stiff and mechanical and the performances are too.

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