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 Coriolanus
Lowest review score: 0 Enough
Score distribution:
3068 movie reviews
    • 87 Metascore
    • 100 Critic Score
    Minghella, by brilliantly editing the romantic scenes down to a few jagged, archetypal moments, captures something of the sacred whirlwind.
  1. A richly detailed and enjoyable American yarn.
    • 87 Metascore
    • 80 Critic Score
    The startling thing about "Aliens" is how obsessed it is with women as child bearers. It's the theme that allows the movie to have all the trappings of a typical science fiction/action movie while creating a primal emotive connection for the audience.
  2. Force Majeure is a prickly moral comedy for grown-ups, full of sharply observed moments, spectacular scenery and masterfully manipulated atmosphere. This is very much a work of 21st-century global culture, but also one that draws on the great cinematic tradition of northern Europe, with hints of Ingmar Bergman, Eric Rohmer and Michael Haneke.
  3. Whatever moment of inspiration caused Spielberg to cast her (Sally Field) as Mary Todd Lincoln, it was sheer genius, because this is a role that demands bigness.
  4. It's a fascinating film, full of drama, intrigue, tragedy and righteous indignation, but maybe its greatest accomplishment is to make you feel the death of one young man -- a truly independent thinker who hewed his own way through the world, in the finest American tradition -- as a great loss.
  5. It’s a career-capping performance by Dern, who is so convincing as an addled, drunken, embittered and probably dying man that he doesn’t appear to be acting, but Forte is just as good playing a preoccupied, emotionally constricted man-child.
  6. The real star of the film is not a person but a city, the vertiginous, exciting, massively overcrowded "maximum city" of Mumbai. On one hand, this environment of Dickensian, almost hallucinatory contrasts between rich and poor, good and evil feels perfect for Danny Boyle.
  7. And now in The Straight Story, no director has been so buzzingly alert to the emotional lives of those people or to the beauty of the world they inhabit as David Lynch.
  8. A work of loopy, original comic genius.
  9. A compendium of every cliché from every bad boxing melodrama ever made, Million Dollar Baby tries to transcend its cornball overfamiliarity with the qualities that have long characterized Eastwood's direction -- it's solemn, inflated and dull.
  10. The Kids Are All Right ranks with the most compelling portraits of an American marriage, regardless of sexuality, in film history.
  11. Gripping, and it's moving, but it isn't particularly subtle. There's a strong thread of tabloid drama running through its core -- but at least it's sensationalistic storytelling with a heart.
  12. My first thought was: It's a temple, a church, a cathedral -- maybe the first one ever built -- and the better-known ones in Rome and Jerusalem and Istanbul are just later versions of the same thing.
  13. For all its flaws, In the Bedroom is an unusual accomplishment, a serious drama about violence and morality that plays out with a fatalistic intensity somewhere between Greek tragedy and film noir.
  14. Ten
    The ultimate lesson in less-is-more cinema, an intimate and revelatory character study as well as a brilliant, almost symphonic rendering of the distracted, anxious, half-alienated and half-meditative state in which we spend vast amounts of our lives.
  15. But the greatness of Chinatown, unappreciated by my adolescent self, lies not in its cynical view of the California dream (that's too easy) but in its fatalistic, even tragic conception of America and indeed of human nature.
  16. What he (Beauvois) conveys, through austere but spectacular visual language, magnificent liturgical singing and an ensemble cast headed by the terrific French veteran actors Lambert Wilson and Michael Lonsdale, is something of the "why."
    • 86 Metascore
    • 90 Critic Score
    Absolutely devastating filmmaking that makes you simultaneously feel the glory and the absolute futility of war. [Director's Cut]
  17. The Great Beauty is an ironic and passionate near-masterwork, like a nine-course dessert that makes you entirely forget the meal.
  18. To Ben Affleck's credit, he's made a terrific, pulse-elevating thriller that will leave the audience cheering.
    • 86 Metascore
    • 100 Critic Score
    In the scorching new film Traffic, director Steven Soderbergh captures the hypocrisy -- and tragedy -- of the nation's unwinnable war on drugs. Traffic is a huge, determined movie in every way.
  19. Talk to Her is much better than Almodóvar's "bad" movies. But it never soars as freely as his best ones do -- it has a very trim, manicured wingspan.
    • 86 Metascore
    • 100 Critic Score
    Beloved for many different reasons, including its scrupulous scientific accuracy, its vast reach from "The Dawn of Man" to the next stage of human evolution, its unrivaled integration of musical and visual composition, its daring paucity of dialogue and washes of silence, its astonishingly creative psychedelic sequence and its still-gorgeous pre-digital special effects.
  20. The Master is often spectacular and never less than handsome, and it has numerous moments of disturbing and almost electrical power. I can't say, after one viewing, that I found it moving or satisfying as a whole, but I'm also not sure it's supposed to be. This is an almost apocalyptic tale of thwarted emotion - love cut short - set in a pitiless land of delusions.
  21. One of the year's best movies...It's one of the simplest and best re-creations of downscale urban England during the gritty post-punk years ever put on screen, and it's both upsetting and very funny.
  22. Whatever allure The Son has lies in its very remoteness, in its resolute refusal to show us all but the most delicate emotional vibrations. It also moves very sluggishly.
  23. His (Miyazaki) stories, and often his character design, just leave me cold. I know I'm supposed to be magically transported by his fanciful tales and his whimsical grandiosity, but they make me listless.
  24. A stereotype-shattering movie that's full of them, and one that may permanently change the way you think about violent crime in America.
  25. It remains a puzzling dream, vivid in detail and overly obvious in symbolism, fueled by half-digested lumps of malice and wonder.

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