Salon.com's Scores

For 2,971 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 House on Haunted Hill
Score distribution:
2,971 movie reviews
  1. Indeed, while the action-packed final act of The World’s End gets pretty formulaic (as it channels everything from “Invasion of the Body Snatchers” to “The Stepford Wives”), there’s ALMOST something serious at the core of this riotous comedy.
  2. If a movie can be stark and rapturous at the same time, this is that movie.
  3. Klayman's riveting, vérité-style film captures this burly, bigger-than-life figure over the past three years, as his activism has heightened, his art has grown increasingly confrontational and he has deliberately blurred the distinction between aesthetics and politics.
  4. Great cinema? Hell, I don't know. But one of the most satisfying movies of the holiday season, that much is for sure.
  5. In some ways Shake Hands With the Devil hits harder than either "Hotel Rwanda" or the recent HBO film "Sometimes in April."
  6. It's a lovely, measured and deeply earnest work. It balances a realistic view of first century Palestine against a sincere consideration of how an ordinary man might learn he is divine.
  7. Walking out of the theater, I felt so bereft that I couldn't speak. And it doesn't hurt any less thinking about the movie now, as I write this.
  8. Reichardt is a tremendously conscientious filmmaker, and not out to torture the audience. Yes, this is a fraught and agonizing story, but the way it ends, although heartbreaking, is absolutely right.
    • 80 Metascore
    • 90 Critic Score
    Possesses that rarest of qualities: moral humility.
  9. With Love and Death on Long Island, writer-director Richard Kwietniowski makes a very pleasing feature debut.
  10. An engaging and often wrenching film, Food, Inc. covers a wide range of material, including the horrific, the humorous and the exemplary.
  11. In these three potent miniatures, Hou Hsiao-hsien suggests that time passes differently when you're deeply in love. He captures the mystical quality of that time on film, making us feel as if we're living in it, rather than simply watching it.
  12. This is one of those movies where you either give yourself up to its rhythms or give up entirely. It took me a few minutes to get used to it, but I found Tony Takitani absorbing and loaded with emotional power.
  13. A ravishing, emotional and often very funny film about a wedding gone wrong, the end of the world and a woman suffering from profound depression.
  14. A vital documentary in the truest sense.
  15. Like a Theodore Dreiser novel for our time, infused with the vivid, vulgar spirit of reality TV. It often had the sold-out Eccles Center howling, but also has elements of profound tragedy and allegory.
  16. One of the most beautiful and endearing nature films you've ever seen, despite being filmed almost entirely within a major metropolis, and a love story that will repeatedly reduce you to tears.
    • 80 Metascore
    • 80 Critic Score
    If the movie isn't true, it's at least true to itself. When Nine Queens spirals out of the realm of believability, we've already been won over enough that we don't care.
  17. I left the theater oddly exhilarated - to see daylight again was so great! - and, odder still, eager to see it again (although perhaps not today). Tarr's films can be arduous, even wrenching, but they're not boring. Watching them is something like visiting the world's most fantastic art museum and taking an ice-cold shower, both at the same time.
  18. Dore does not gloss over the ideological excesses or internal quarrels of feminism, but more than anything else she captures the excitement of that era, the growing sense of solidarity as more and more women discovered that their dissatisfaction was not an individual matter.
  19. A winning western with just a few dark eddies beneath the surface, one that features a star-making lead performance and some spectacular photography, but falls just short of being great.
  20. A wonderful adventure film that's no less thrilling for its modest scale, and a film whose emotional power and intelligence sneak up on you.
  21. It's such a lovely piece of work -- and, especially for a filmmaker whose name is barely known outside of art-house circles, so pleasingly accessible -- that it's troubling to think that few people outside of major cities will be able to see it.
  22. Blitz captures the intensity of the bee itself, showing how it frazzles the nerves of even the most well-prepared spellers as, one by one, their colleagues and competitors drop away.
  23. Terrifically choreographed, violent and amoral, but never wantonly cruel, Miss Bala is a knockout.
  24. The plot of Howl's Moving Castle meanders so listlessly that its details become less and less charming.
  25. The picture works because, despite the fact that it took nearly six years for the filmmakers to bring it to the screen, it doesn't strive for greatness. It's fleet, concise and clever in a nut-ball way.
  26. Aside from the effectiveness of Set Me Free as a coming-of-age story, it's also one of the most poetic avowals of love for movies that I've seen in years.
  27. Even these ludicrous notions illustrate the real point of Room 237, as I see it, which is that “The Shining” is a disturbing, complicated and highly unusual creation of pop cinema that works on many levels, and whose slow-acting toxin continues to spread through our cultural veins more than 30 years later.
  28. If a film can be both lush and cold, both erotic and cautious, that film is Lady Chatterley. It's a picture to honor and appreciate, not necessarily to love.

Top Trailers