Salon.com's Scores

For 3,086 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 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Selfish Giant
Lowest review score: 0 Enough
Score distribution:
3086 movie reviews
  1. A narrative picture with many of the qualities of a documentary, not to mention a comic book -- is one of those rare, inventively made movies that isn't so taken with its own novelty it loses sight of its characters. Its warmth is for real, and it enwraps you.
  2. Isn't much more than marvelous entertainment -- but then, that's a lot right there.
  3. It's an expertly made picture that I wish I could stamp out of my mind. What's the value of artistry that sucks the life out of you?
  4. Andrew Jarecki could have done more to lay out the marriage of sexual and religious and social hysteria that made cases like this possible. But he deserves credit for having the guts to say, in this case and in so many like it, who suffered the most.
  5. A work of tremendous confidence and dazzling showmanship that may just be a delirious movie-as-drug-high or may, if you choose to read it this way, contain a level of commentary about the nature of America and the illusioneering of Hollywood.
  6. In casting Jack Nicholson as the jaded Anglo-American journalist who abandons his previous life during a trip to Africa and adopts a dangerous new identity, Antonioni was working with a more powerful and charismatic actor than he has before or since. The result is something like a glamorous thriller or a disaster film in slow motion.
    • 90 Metascore
    • 90 Reviewed by
      Max Cea
    Jarmusch has a tendency (which is intentional) to turn away from what is obviously beautiful and popular, and to instead beautifully render what is rarely noticed and perhaps slightly ugly. He credits the cinematographer Robby Müller with teaching him, “Don’t look for the obvious, always keep your eyes open, keep thinking on your feet.”
  7. The connection between Bob and Charlotte, as Coppola shows it to us at the end of Lost in Translation, is a moment of intimate magnificence. I have never seen anything quite like it, in any movie.
  8. This is a graceful and enveloping feat of filmmaking.
  9. The Overnighters is a documentary about real people in a real place. This is both amazing and frustrating.
  10. This is a teasingly complex political thriller, but it's also a sort-of romance.
  11. Speaking as one New Yorker who lived through 9/11 and saw this film with a packed house of natives at its Tribeca Film Festival premiere, I experienced Man on Wire as an almost mystical incantation.
  12. As a rich and exuberant character-driven crime saga in an idiom you absolutely have not encountered before, and a dense, unsentimental portrayal of the collision between democracy, capitalism and gangsterism on the frayed margins of the post-colonial world, Gangs of Wasseypur is a signal achievement in 21st-century cinema.
  13. 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.
  14. It's a cross between confidence and vulnerability that's hard for an actress to pull off, but Streisand hits the note perfectly. And her greatest moment of acting, I think, is also the picture's strongest musical number.
    • 89 Metascore
    • 90 Critic Score
    Elle, like all of Verhoeven’s films, refuses easy categorization. It combines elements of a rape revenge thriller, an extremely dark class comedy and Cronenbergian body horror to create something totally unique — a singular experience that transcends genre.
  15. Son of Saul is a work of superlative filmmaking craft and moral intensity.
  16. From the first frames of Charles Ferguson's No End in Sight, replaying some of the oddest and twitchiest podium performances of Donald Rumsfeld during those heady days of spring 2003, you may feel the crushing weight of an almost Sophoclean impending doom.
    • 89 Metascore
    • 100 Critic Score
    I don’t care what your parents told you. It’s a Wonderful Life, that reassuring holiday spectacle, is really the most terrifying Hollywood film ever made. It’s one of a handful of masterpieces directed by Frank Capra, an Italian immigrant who loved America because America saved him.
  17. Most of the movie's subterranean emotion is found in the unsettled relationship between Solo and William, and in the extraordinary performances by the two leading men.
  18. Stop Making Sense is so beautifully choreographed that in some ways it's more like theater than a rock show. [Review of re-release]
  19. Selma is gripping, inspiring and sometimes terrifying historical drama, loaded with specific detail, that brings a turning point of the civil rights movement back from black-and-white obscurity to present-tense urgency.
  20. In the long and fraught history of Franco-American cultural relations, this movie is more than a peace offering; it's a loving, goofy, joyous French kiss.
  21. Represents a failure of nerve: As if Gondry and Kaufman weren't sure that the story of Joel and Clementine would hold us, the doomed couple's unfolding-in-reverse romance is intercut with a subplot filled with zany touches.
  22. Eastwood is so busy humanizing Japanese soldiers that he ends up rewriting history.
  23. Although there's plenty of music, and plenty of joy, in Once, it's ultimately a quiet, wistful picture.
  24. Offers an exquisite tour of the twilight zone between high school and the so-called real world, as well as between bohemian subculture and the even stranger culture of America at large.
  25. One of the most joyous movies I've ever seen, and one of the handful of great erotic films the movies have given us.
  26. While the filmmaking overall suffers from a kind of tasteful, low-key blandness, Philip Seymour Hoffman's portrayal of Capote keeps the blood coursing through it. He's the bright, chilling spot of color at the center of an otherwise beige movie.
  27. What makes Tulpan remarkable are the extended unbroken scenes, both dramatic and comic.

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