Salon.com's Scores

For 3,088 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 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Selma
Lowest review score: 0 Air Force One
Score distribution:
3088 movie reviews
  1. It’s both a compelling group melodrama built around an appealing young cast and an immersive introduction into a social reality many of us haven’t thought about.
  2. A moving, surprising and provocative baseball flick that rises immediately to No. 1 with a bullet on my personal list.
  3. Florid, passionate, frequently hilarious and loaded with messy emotions that nobody in his or her right mind should even attempt to explain, it's operatic in its nutball intensity.
  4. Blissful, blazingly intelligent adaptation.
  5. Birds are not just the movie's stars, but its whole universe. They inspire in Perrin and his crew, and in us, not just awe but humility. You'll never look at them the same way again.
  6. Has so much going for it -- including intelligent performances that mesh beautifully, and a keen understanding of how seemingly small moments can rattle the foundations of families -- that you walk away from it feeling it should add up to more.
  7. In its cornball "Let's put on a show!" crudeness, its Cuisinart collapsing of rock history, and its reduction of the ambiguous, libidinal revolt led by Elvis and Mick and Johnny Rotten and Kurt Cobain to the level of pampered middle-school posturing, School of Rock is a clever and sometimes a beautiful thing.
  8. An affectionate, exuberant picture that seeks to bring even those who don't know Klingon from Portuguese into the embrace of a pop-culture phenomenon.
  9. In her adaptation of The Namesake, Mira Nair hits it right at least half the time. In places, the movie feels aimless and misshapen; it doesn't have the gentle but focused energy of Lahiri's book. And sometimes Nair goes overboard in heightening the cultural contrasts -- the inevitable incongruities between East and West -- that Lahiri navigates so subtly.
  10. Hunger is a mesmerizing 96 minutes of cinema, one of the truly extraordinary filmmaking debuts of recent years. It's also an uneasy, unsettling experience and is meant to be.
  11. From the too-good-to-be-true desk comes this loving and hilarious portrait of Spinal Tap-esque Canadian metal band Anvil, who were briefly a hard-rock sensation in the early '80s (mainly for the song "Metal on Metal") and have been struggling along in total obscurity ever since.
  12. Under the guise of being nothing more than a quasi-documentary about two comedians cutting up and scarfing gourmet cuisine, The Trip may be the wryest and most affecting of all the recent movies about middle-aged male angst.
  13. One of the greatest fantasy films of all time.
  14. Instead of taking control of the movie in any overt way, Clooney commands our attention by swimming just beneath its surface. He's a disappearing act with staying power.
  15. Hirschbiegel and Eichinger, along with their large, brave and talented cast, have done something extraordinary for their generation of Germans, and for the world. They have willfully entered their grandparents' dirtiest, clammiest chamber of secrets.
  16. A memorable, imperfect, heartbreaking summer love story, a bit soapy in spots but loaded with power and feeling.
  17. An ingenious mixture of satire, dead-end suburban realism and gory vampire fantasy.
  18. Footnote has two of the best performances I've seen in world cinema over the past year: One from Shlomo Bar Aba (apparently best known in Israel as a stand-up comic and stage actor), playing the aging, bitter philologist Eliezer Shkolnik, and the other from Lior Ashkenazi, one of the country's best known movie stars, as his son and rival, Uriel.
  19. It’s a moving and magnificently crafted story about a person named Steve Jobs who was brought low by pride and arrogance and then redeemed by love. It might be a story that mirrors our dreams and desires, which is what the real Steve Jobs did too, and in that sense maybe it’s indirectly about him. It’s definitely not about a guy who built and sold computers.
  20. Shot in spectacular black-and-white by cinematographer Christian Berger, and marvelously acted by a first-rate German ensemble, The White Ribbon captures a mood of thickening tension and mounting violence.
  21. One of the most exciting Hollywood action films in years, and the best Vietnam movie since "Apocalypse Now."
  22. The picture may end a little too breezily, but Demme knows we have to be left with some hope for these wandering souls. Someday, they'll find their way home; it just may not be the same thing as going home.
  23. For the right kind of film buff, it's absolutely one of the most enjoyable pictures of the year - and if you've never heard of the guy before, I can't imagine a better place to start.
  24. Sophisticated, brash, sardonic, completely joyful in its execution. It gives anyone who ever loved movie musicals, and lamented their demise, something to live for.
  25. This is a supreme example of how a filmmaker can make a work of fiction based on fact that, without didacticism or heavy-handed moralizing, leaves us feeling more connected not just with history but with what makes us human in the first place.
  26. Its stars, Emily Blunt and Natalie Press, are film newcomers who give startling performances. The photography is often breathtakingly original.
  27. It's a wholly amoral movie, but it's honestly amoral. And that's a relief for the audience.
  28. Not without its own bleak integrity. But the movie wipes you out and leaves you with nothing, not even the feeling of exaltation that can be present in the most tragic works of art.
  29. Nolan may want us to believe in the darkness that lurks within each of us, but instead of leading us to it visually, he chops it up and sets it out in front of us, a grim, predigested banquet.
  30. Once you start to ride with the rapturous, gorgeous, digressive symphony of images and words and music in this film it's completely absorbing and unlike anything you've ever seen.

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