Salon.com's Scores

For 3,068 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Before Sunset
Lowest review score: 0 The In Crowd
Score distribution:
3068 movie reviews
  1. Inside of five minutes I felt an urgent, blinding hatred for almost all its grotesquely overprivileged characters.
  2. Both the performance and the movie around it are virtually incomprehensible.
  3. Suspect Zero is loaded with cheap thrills for the expensively educated.
  4. Fragmented and contrived, like a badly mapped-out scrapbook.
  5. The most depressing movie I've seen all year; in fact, I'm hard-pressed to name a movie aimed specifically at women that has ever made me feel as insulted and disgusted.
  6. This isn't a picture filled with wonder and a sense of fun; it's so jaded and crass that I almost wonder if it's a highly unscientific experiment designed to gauge how little audiences will settle for these days. Manic and multicolored, Speed Racer is an excess of nothingness.
  7. Overall Seven Pounds is too heavy-handed and maudlin to be comprehensible, let alone moving. The real shocker is that not even Smith can rescue it.
  8. The disgrace of Steal This Movie isn't just that it fails to do justice to its subject, but that, as a movie, it's barely competent.
  9. This clunky TV remake is stiffer than an iron curtain.
  10. 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.
  11. This alleged thriller, which might be described as "'Gaslight' Goes to College," is one of the most incoherent features in recent memory.
    • 36 Metascore
    • 30 Critic Score
    There's not enough fast and even less furious.
  12. A grim, sour view of single life.
  13. 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.
  14. Unwatchable.
  15. Sells ignorance as a refined evening's entertainment.
  16. Between the 12th floor and the 14th floor, boredom awaits!
  17. It was boring and silly but not atrociously bad. No, that's much too glowing; allow me to back up and rephrase. It is atrociously bad, basically.
  18. One of the most dreadfully unnecessary movies in recent memory.
  19. Just slides off the screen and disappears.
  20. A vehicle for teen singing sensation Mandy Moore. As vehicles go, it's an Edsel.
    • 35 Metascore
    • 0 Critic Score
    Trying to figure out just what went wrong in the creation of a movie as dreadful as this may ultimately be as futile as trying to ascertain what might lie on the "other side" of a black hole.
  21. Didactic, clumsily directed and abysmally acted, never lets go of its intellectualized approach long enough to deliver any real kinetic thrills.
  22. Identity Thief reaches impressive heights of laziness and idiocy.
  23. 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.
  24. The whole movie is overbright, overloud, antic, telling us the characters and animals are endearing rather than allowing them to reveal themselves as such.
  25. The movie is so thoroughly lousy. It's loud, brash and obvious, full of car chases and explosions and gunplay.
  26. Startlingly inept from start to finish -- it's atrociously written, poorly shot and edited and fatally unfocused.
  27. Cohen had neither the chops nor the clout to prevent Get Hard from ending up, no doubt through the normal process of producer rewrites, focus groups, worried agents and weevil infestations, as a confused and contradictory mess. More to the point, it’s almost never funny, and full of elementary screenwriting blunders.
  28. Year One sets prehistoric comedy back at least 20 years.

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