Salon.com's Scores

For 3,069 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 Air Force One
Score distribution:
3069 movie reviews
  1. This is one of Anderson’s funniest and most fanciful movies, but perversely enough it may also be his most serious, most tragic and most shadowed by history, with the frothy Ernst Lubitsch-style comedy shot through with an overwhelming sense of loss.
  2. Winter Sleep belongs alongside “Boyhood” and “Inherent Vice” on the short list of the most powerful films of 2014. Calling a film “good” or “important” is subjective, of course, but this isn’t: All three are reaching for the kind of cinematic transcendence that exceeds language, that weaves together various art forms into an ascending spiral of meaning that cannot finally be captured or defined.
  3. It’s perhaps the first great love story of the 21st century that could belong only to this century.
  4. Citizenfour is both an urgent tale torn from recent headlines and a compelling work of cinema, with all the paranoid density and abrupt changes of scenery of a John le Carré novel.
  5. Band of Outsiders is about the tyranny of living a life of movie-fed fantasies, and while it makes us see the poverty of those fantasies, it also makes them unaccountably rich, poetic, sad.
  6. Polley captures the brisk, cheerful fascism of nursing-home existence with merciless clarity; if you've visited a parent or grandparent in one of those places, you may want to laugh and cry in the same moment.
  7. Sordi is an elegant comic actor in the vein of America's William Powell; the world may confound him, but it can never rumple him.
  8. This is a fine example of British commercial filmmaking at its highest level of craftsmanship.
  9. It might well be the most important film you see this year, and the most important documentary of this young century.
  10. Yes, there are some "middle-chapter" problems, but Peter Jackson's Tolkien adaptation hasn't lost its devastating humanity, its heart-stopping cinematography or its epic sweep.
    • 88 Metascore
    • 90 Critic Score
    This movie's cornucopia of humorous riffs and stunts never fails to amuse or enthrall because it never ceases to be unexpected.
  11. It's a warm, richly funny and highly enjoyable human story that takes an intriguing sideways glance at a crucial period in 20th-century history.
  12. Up
    Save for a few inspired canine gags and a handful of very pretty visual details, Up left me cold. Its charms appear to have been applied with surgical precision; by the end, I felt expertly sutured, but not much else.
  13. It's simultaneously terrifying and hilarious, a full-on shotgun blast to the face of rediscovered 1970s weirdness, something like finding out that there's a classic Peckinpah film you've never seen, or that Wes Craven and Bernardo Bertolucci got drunk in Sydney one weekend and decided to make a movie together.
    • 88 Metascore
    • 90 Critic Score
    Just as good as the original. In fact, it might even be better. Not only is it just as visually stunning and witty as the first, but it's funnier, more thoughtful and more grown-up.
  14. Kore-eda doesn't create the simultaneous sense of being destroyed and exalted that the greatest humanist movies do, but he's stayed true to his title.
  15. One of the greatest films of recent years.
    • 87 Metascore
    • 60 Critic Score
    A corny, old-fashioned backstage farce.
  16. This film never feels like copycat Americana to me. Its vision of the bleak, ruined, urban-cum-rural landscape of Naples and environs is distinctively European and postmodern, redolent of the spiritual and physical desolation Antonioni captured so memorably in "Red Desert."
  17. This heart-wrenching documentary about a French village schoolteacher at work offers the comedy and pathos of great drama and the visual magnificence of painting.
  18. As with the Antonioni film that Farhadi has so ingeniously turned to his purposes, you shouldn’t go see About Elly hoping for a Hitchcock-style thriller that will answer all your narrative questions. But if “L’Avventura” is a deliberately frustrating portrait of European postwar anomie and a study in abstract, black-and-white composition, About Elly is more dynamic and more realistic.
  19. So much modern animation is technically brilliant and yet comes off as cold and indifferent. But Wallace, Gromit, and the people and creatures in their world always look warm to the touch. Someone made, and moved, all those bunnies by hand. It's impossible NOT to believe in them.
  20. A breakthrough movie after its own fashion, a mysterious existential thriller that's brilliantly acted and masterfully directed, without a second of wasted screen time.
  21. One of the greatest of all Holocaust films.
  22. No one could have held The Fog of War wanting if Morris had concluded that it's impossible to get all the way to the bottom of Robert McNamara. But explicating an enigma is not the same thing as blurring it with artistic ambitions. The thickest fog in this documentary has been conjured not by McNamara, but by Errol Morris.
  23. Takes great pains to be a compassionate love story; but the filmmaking itself, self-consciously restrained and desiccated, is inert and inexpressive.
    • 87 Metascore
    • 80 Critic Score
    An edge-of-your-seat emotional roller-coaster ride about ordinary people in a nondescript neighborhood, it's sometimes terrifying, often heart-rending and completely worth it.
  24. So ends this enormously important, and enormously extended, chapter of pop culture, with a combination of bang and whimper.
  25. Has a lot of integrity, both in visual and conceptual terms, and seamlessly blends entertainment and education.
  26. Herzog wants us to see a deluded nobility in this quest. Treadwell's flawed dreams were, in the end, all too human.

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