Salon.com's Scores

For 2,944 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 Lost in Translation
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
2,944 movie reviews
  1. The movie not only approaches a level of shamelessness you have to see to disbelieve, it does it in a manner that's both inept and crass.
  2. Punishingly dull.
  3. A compendium of every cliché from every bad boxing melodrama ever made, Million Dollar Baby tries to transcend its cornball overfamiliarity with the qualities that have long characterized Eastwood's direction -- it's solemn, inflated and dull.
  4. The most gutless and naive political drama of recent memory.
  5. It's hard to remember a movie that has asked us to care, without giving us reason to, about a character who is so thoroughly and relentlessly a prick.
  6. It stinks pretty bad, but not so bad you'd go out of your way to avoid it.
  7. Portman and Judd aren't responsible for the mendacious and finally repulsive sentimentality of Where the Heart Is, but by the end their wholesome glow seemed contaminated by it, and that's a shame.
  8. Martin Lawrence, no Eddie Murphy, takes a reheated cross-dressing shtick and turns it into something to elate your inner fourth-grader.
  9. I've never seen anything crazier than Palindromes. You can read that as praise if you're that sort of person, but I don't mean it that way.
  10. Extravagant in movie terms but stingy in emotional ones, it embodies all of Spielberg's bad impulses and almost none of his good ones: It's a grand display of how well he knows how to work us over, and yet the desperation with which he tries to get to us is repulsive.
  11. It's ostensibly about adults, but there's nothing remotely adult about it.
  12. There's nothing offhand or spontaneous-feeling about Nanny McPhee; it's a highly mechanical piece of work, and its potentially delightful details are wasted.
  13. It's lower on the food chain than a mere exploitation picture because it clings so desperately to the notion that it's a serious movie about violence; it doesn't even have enough integrity to serve up cheap, sick thrills for their own sake.
  14. Both the performance and the movie around it are virtually incomprehensible.
  15. It's tempting to write off Because I Said So as just another dumb, bad comedy, made yesterday and forgotten tomorrow. But no matter how negligible this particular picture is, it's time to look a little deeper. If these are the only kinds of roles we can conceive for actresses who have grown into their faces, as Keaton has, it's no wonder so many younger performers are seeking the knife.
  16. The picture is just a catalog of strained camera moves and preprogrammed gags, with no wit or style.
  17. Any moron can make a bad movie. But it takes a special breed of schemer to make a picture as shameless as The Bucket List.
  18. Watching Streep and her two BFFs, played by Christine Baranski and Julie Walters, grinning and giggling their way through Mamma Mia! I felt I was being thoroughly, and unenjoyably, punished.
  19. It's impossible to tell what's going on at any given moment in Tomb of the Dragon Emperor; it's even harder to care about being able to tell.
  20. The whole vibe is so shrill and frantic that the truly accomplished actresses, like Bening and Bergen, are left to flounder. The less nuanced ones -- that would be you, Debra Messing -- are, to use the idiom of the movie, as pleasant to watch as a bikini wax is to feel.
  21. A jumble of spare parts and leftover dialogue, as if it had been assembled out of unused bits of every movie where an unknown whatzit threatens our way of life and the government goes into full institutional pants-crapping panic mode.
  22. It's both slack and bloated; I've been to Catholic wedding masses that had more zip. I think it clocked in at fewer than 90 minutes, but it seemed to last longer than most marriages do.
  23. Disposable crap.
  24. Neither funny nor honest. The exact opposite of a retreat, it's merely exhausting.
  25. It's a limp romantic drama that occasionally lifts its drowsy head to attempt a wan smile, a picture that starts out being harmlessly dull and ends, somehow, in a place that feels insultingly manipulative.
  26. So contemptuous toward its own characters, and its audience, that it chokes off any visceral thrills it might have offered. The movie substitutes calculation for brains, and the filmmakers seem to think we'll all be too stupid to notice.
  27. A perfect storm of a movie disaster: You've got good actors fighting a poorly conceived script, under the guidance of a director who can no longer make the distinction between imaginativeness and computer-generated effects. The result is an expensive-looking mess that fails to capture the mood, and the poetry, of its source material.
  28. Just when you think your jaw can't drop any lower in appalled amazement, comes a romantic comedy so lunkheaded and ill-conceived that it makes your average, idiotic Kate Hudson-Matthew McConaughey outing look like the reincarnation of Hepburn and Grant.
  29. Both mean-spirited and self-conscious. It's all style and no soul, which wouldn't be a problem if its style at least gave us something to look at, or to laugh at. But From Paris With Love, filmed on location in Paris, has a raggedy, greasy, dingy look: It's the movie equivalent of an unbathed, unshaven French boyfriend (the bad kind). It thinks it's suave, but it just smells bad.
  30. A Garry Marshall movie has to be funny in order to be anything at all, and this one is so deeply involved with its pseudo-meaningful roundelay of beautiful but inexplicably lovelorn people as to be teeth-grindingly, mind-warpingly boring.

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