Salon.com's Scores

For 2,903 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 This Is Not a Film
Lowest review score: 0 Spawn
Score distribution:
2,903 movie reviews
  1. You can't imagine a soapier setup, but Gilles' Wife taken on its own terms is a spectacular achievement, a heartbreaking cinematic work that finely balances melodrama, family love story and devastating tragedy.
  2. There's nothing too clean or too overbright about it. It's magic, but not the loud, shiny kind: It has the texture of worn velvet, or a painstakingly hand-knit sweater stored away for years in tissue paper.
  3. One of the most remarkable explorations of recent history ever conducted.
  4. This is a fine example of British commercial filmmaking at its highest level of craftsmanship.
  5. It's an electrifying, suspenseful film, full of street-level political drama.
  6. At a time when our country feels divided to the point of cracking, Dave Chappelle's Block Party feels like a salve. It's a defiant act of optimistic patriotism.
  7. Almost as exhilarating as it is depressing. Puiu's filmmaking technique is remarkable, and all the more so because it's almost invisible.
  8. Superman, born in 1938, is still very much alive in 2006. The Man of Steel has so skillfully bent the bars of our imagination that he seems real to us. And in a sense, he is.
  9. It's a magnificent miniature, a supremely tender work that's full of emotion and even sentimentality.
  10. A haunting and riveting work, unlike anything else you can see at the movies and as such an explicit challenge to the unambitious, anesthetic character of most contemporary cinema. But is it easy, or delightful, or fun? It is not.
  11. One of the best films of the year.
  12. Idlewild has just about everything a popular entertainment can offer. It also has a soul, and that comes free with the price of a ticket.
  13. Burns has accomplished something both remarkable and reassuring. Remarkable because this is a compelling film, blending astonishing historical images with long-winded talking-head interviews, in vintage Burnsian style, and reassuring for almost the same reason.
  14. There's something grand and enveloping about Fearless.
  15. Mirren's performance is glorious: Rather than impersonate the queen -- which would have been all too easy to do -- she reaches deeper to locate the buried, calcified thoughts and feelings that might guide this deeply inscrutable woman.
  16. Scorsese didn't need to remake "Infernal Affairs," but what he has done with it is a compliment rather than an affront to the original: The Departed reimagines its source material rather than just leeching off it, preserving the bone structure of the first movie while finding new curves in it. The story has been clarified; the ellipses of the original have been filled in with just the right amount of exploratory shading. This is a picture of grand gestures and subtle intricacies, a movie that, even at more than two hours long, feels miraculously lean. It's a smart shot of lucid storytelling.
  17. I can't imagine anyone not being both horrified and fascinated by Stanley Nelson's Jonestown: The Life and Death of People's Temple.
  18. Borat is an astonishingly entertaining picture, and it's a testament to Cohen's gifts that he can pull off a feat as extravagant and as fully realized as this one is.
  19. Part noir-comedy, part ghost story, but it's mostly a potent reflection on how where we come from shapes us, in ways we can't understand until we've been away for a long, long while.
  20. This is Bond as we've never seen him, more naked, alive and mysterious than ever.
  21. So truly and exceptionally fine, a spiny and dispassionate little masterpiece of a marriage movie.
  22. Curran, his actors and screenwriter Ron Nyswaner have made an old-fashioned melodramatic epic that, as steeped as it is in the language and tradition of old movies, is never less than thrummingly alive.
  23. Venus belongs to O'Toole. This is, hands down, my favorite performance of the year, largely because I love the way O'Toole (and the filmmakers) refuse to yield to the all-too-pervasive idea that it's "icky" for old people to even think about sex.
  24. Another remarkable chapter in the career of Asia's most important living filmmaker. After "Pan's Labyrinth," this is the movie to see this season.
  25. This is a true fairy tale, and one of the finest fantasy pictures ever made, but please do not take your young children to see it unless you want them to be scarred for life.
  26. The GoodTimes Kid has a whimsy, a passion, a sophistication and, above all, a vigor that's mostly drained out of Amerindie cinema over the last decade or so.
  27. It's a carefully and almost classically balanced combination of ingredients, blending dirty-faced realism (so much more damning because it judges and condemns no one) with mystical fable of quest and homecoming.
  28. Sordi is an elegant comic actor in the vein of America's William Powell; the world may confound him, but it can never rumple him.
  29. A magical and supernally beautiful meditative drug-trip head-space picture (a full-fledged ZZM, q.v. above) for which all Euro-film masochists should rearrange their schedules. It'll be out on DVD soon, and that's great. But Garrel's films are almost never seen on the big screen, and this one's worth it.
  30. With one foot in the grind house and one in the art house, the smarts in Freeway are more than equal to its visceral kick.

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