Salon.com's Scores

For 2,916 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 Dallas Buyers Club
Lowest review score: 0 The Replacements
Score distribution:
2,916 movie reviews
  1. The movie is like a well-intentioned designer knockoff that doesn't know when to quit.
  2. 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.
  3. 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.
  4. It's desperately lifeless.
  5. 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.
  6. The movie works neither as a comedy nor as a lame melodrama -- its entertainment value is embarrassingly feeble.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. Carell is on the fast track to becoming Robin Williams, a guy who lost the plot far too early on and began pouring his considerable comic gifts into brain-dead heart-warmers.
  16. The sex scenes -- intense, affecting and emotionally raw -- are the best thing about this frustratingly limp movie.
  17. Ben Stiller, the movie's star, pretty much sinks the whole enterprise.
  18. 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.
  19. It pretends to examine how self-absorbed we are as a culture, only to be consumed by its own self-absorption. It's also badly constructed, humorless and emotionally sadistic .
  20. 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.
  21. Wears off in about 10.8 minutes.
  22. 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.
  23. This may be one of the most sluggish sports comedies ever made -- even the supposedly rousing final sequence feels belabored and chubby.
  24. The picture, despite the grand panoramic scale Emmerich has tried to give it, is dopey and static. Its finest moments belong to the thundering herd of woolly mammoths who storm through the picture sometime in its first half-hour.
  25. 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?
  26. The story sounds great, on paper: It''s got interracial romance and betrayal, political and ethnic violence, and a faint feminist undercurrent. But the resulting movie is so pretty and so utterly lifeless you can almost smell the embalming fluid coming off the screen.
  27. His scattershot and ad hominem attacks against many different forms of religious hypocrisy don't add up to a coherent critique, and he's not qualified to provide one.
  28. Terminator Salvation has no brains and no soul; it's just a mass of stiff, creaking metal joints. Clearly, the machines have won.
  29. Watching The Boy in the Striped Pajamas, it struck me that weaving a touching little tale about a death-camp friendship is actually a pretty bad way to teach kids about the Holocaust.

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