Salon.com's Scores

For 2,850 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Ratatouille
Lowest review score: 0 From Justin to Kelly
Score distribution:
2,850 movie reviews
  1. In Crank: High Voltage, Statham just looks miserable, as if appearing in this lousy picture just sucked all the heart right out of him.
  2. Year One sets prehistoric comedy back at least 20 years.
  3. I Hate Valentine's Day is a horror show masquerading as a romantic comedy. Maybe Vardalos is just in the wrong line of work.
  4. Scorsese is pushing, I guess, for something that combines a '40s horror-thriller with a contemporary psychological tragedy. What he ends up with is more like a Hardy Boys mystery directed by David Lynch.
  5. This is a love story, all right, but it has less to do with the flaws of capitalism than it does with Moore's unwavering fondness for the sound of his own voice, and for what he perceives as his own vast cleverness.
  6. New Moon, on the other hand, merely follows a dictated formula. It's a cheap, shoddy piece of work, one that banks on moviegoers' anticipation without even bothering to craft a satisfying experience for them. Its pandering is an insult.
  7. 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.
  8. 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.
  9. It's sad when a bit of grim futuristic silliness like Repo Men falls short on all counts, down to the most basic level of entertainment value.
  10. Unlike the original -- which, in a crazy stroke of genius, allowed Shakespearean thespians like Claire Bloom and Maggie Smith, plus Bond babe Ursula Andress, to mix it up as jealous goddesses -- the new Clash of the Titans is frightfully low on babes.
  11. 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.
  12. It's a challenge to take a comic-book adaptation that stars Josh Brolin, John Malkovich and Megan Fox and drain nearly all the fun out of it. Jonah Hex is one of those movies that combines a certain amount of being ridiculous on purpose with a great deal of pseudo-profound silliness.
  13. It's a little bit Tolkien, a little bit Lucas, a little bit "Matrix," a little bit "Dune" and rather too much Philip Pullman, all stuck together with some powerfully expensive effects and lots of cute kids doing tai chi.
  14. This well-crafted example just piles imaginary atrocities on top of real ones, and then halfheartedly claim that it means something. Well, it doesn't.
  15. Off the top of my head, I'm guessing that Season of the Witch claims a place in the top five all-time bizarre and pointless homages to art cinema.
  16. 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.
  17. A would-be tween-oriented hit so scrubbed and sanitized and not worthy of paying attention to that it can barely be said to exist at all.
  18. It's all just an embarrassment, the kind of pointless slog you'll encounter on Netflix in two years and wonder, How the hell did that get made?
  19. 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.
  20. Rarely has a film with such a great cast and so many moments of terrific writing and such high dramatic goals been so messy and disorganized and fundamentally bad.
    • 50 Metascore
    • 30 Critic Score
    The result is a bombastic, flashback-ridden farrago of skulking villains, scenery-chewing actors, sub-"Ivanhoe"-style dialogue and what seems like a dozen pretty, flaxen-haired men storming in and out of rooms in snits.
  21. Renders Jonathan Safran Foer's best-selling 2005 novel into unconvincing Hollywood mush.
  22. It's exactly the sort of movie that Hollywood specializes in, the kind which seems on paper as if it ought to be entertaining, but winds up a massive and chaotic drag.
  23. That whole aspect of October Baby creeped me out a lot more than the blood-curdling failed-abortion story did, honestly. I've seen a lot of movies where crazy and impossible things happen, and you just have to roll with them. Real life is much more frightening.
  24. Luc Besson and Liam Neeson and the rest of the furriners who made the inept and offensive Taken 2 don't seem to have gotten the memo from Jason Bourne: Americans don't think our spooks are good guys anymore.
  25. Stoker, which plays something like a remake of “The Addams Family” mixed with “The Paperboy” — but without the laughs of either – belongs in a special category of movie badness, or perhaps two different but overlapping categories. It’s a visually striking but fundamentally terrible film made by a good or (some would say) great director.
  26. Fitzgerald’s influence could have crept in there by osmosis, and whatever other charges you want to level against Spring Breakers – such as incoherence, plotlessness, salaciousness and mind-numbing monotony – it has no lack of high concept.
  27. The problem with “Wolverine” isn’t that the mythology is detailed and potentially confusing — you could say that about any number of movies based on comic books, even some of the good ones. The bigger issue is that “Wolverine” is so uninvolving that you might not care whether you remember what happened 10 minutes ago.
  28. 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.
  29. This cookie-cutter spy thriller depends on the chemistry between Anthony Hopkins and Chris Rock. Um, wait, there isn't any.

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