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 Rust and Bone
Lowest review score: 0 Event Horizon
Score distribution:
3068 movie reviews
  1. If it arrives in final form as (still) a total mess, it's such a passionate and ambitious mess -- overcrowded with extraordinary images, incomprehensible ideas, literary and pop-cultural references and colliding subplots -- that it transcends its adolescent awkwardness and approaches being magnificent.
  2. It's mostly terrible. The movie has no sparkle, no charm, nothing to sweep us off our feet.
  3. For everyone who's been waiting for a love story between an anal retentive and a flake.
  4. It's a generically enjoyable action film with a bit of hardboiled based-on-a-true-story-ness about it, and since it's set in the '80s and feels like an '80s movie, it seems a lot like something you must have seen years ago.
  5. An engrossing, gem-hard little popcorn-cruncher.
  6. If only Malibu's Most Wanted had been a little more daring, it might have managed to satirize the playacting ludicrousness of gangsta style.
  7. LaBeouf shambles through the movie with an endearingly lost quality -- his savoir faire is of the hangdog kind, but it pretty much works. And Monaghan, with that upturned nose and those mischievous eyes, always looks like a woman in search of trouble.
  8. Considered as pure spectacle, San Andreas is gripping and effective.
  9. One of those movies where the small pleasures stack up high enough to dwarf the disappointments.
  10. Her (Taymore) interpretations and interpolations range from brilliant to indifferent to extremely silly; as Taymor surely knows, there's nothing especially revolutionary in asking Helen Mirren to play the central role of Prospera.
  11. If The Animal -- co-written by Schneider and Tom Brady -- never quite gets fired up, at least it chugs along efficiently on its mildly inspired ridiculousness.
  12. The entire movie looks as if it were processed in the toilet of a Tijuana jail cell. Shot by Dariusz Wolski in colors that are bleached out, over bright and flat, The Mexican is the ugliest-looking major studio release in recent memory.
  13. As an ode to fatherhood, Jersey Girl is sweet without being particularly deep; but Smith is really onto something when he nudges against the ways in which the geographic landscape of a life merges with the genetic one.
  14. While 9 Songs is sexually explicit in the basic sense, its DIRECTNESS is what's most fascinating, and ultimately most moving, about it.
  15. A well-acted little thriller of the sort sometimes called a "twisty" -- I wouldn't call it a great movie, but it'll keep you guessing about its characters and it has an intriguing mean streak.
  16. MacGruber dutifully rehearses the genre's standbys -- so dutifully, at times, that the joke disappears altogether.
  17. Of all the characters in American Pie 2, male or female, Michelle is the only one who feels completely rounded and whole. She moves with unerring grace and subtlety through this feeble minefield of a movie, unharmed by the tepid jokes that flop and fizzle around her.
  18. Boyle's Beach lacks imagination and energy, two things that might have distracted us, at least occasionally, from the material's tepidness.
  19. Anything Else isn't just the latest Woody Allen movie; it's also the smallest. His pictures seem to be getting tinier and tinier, and after you've seen them they leave nothing but a tinny echo and a bad taste. Anything Else is misanthropy writ small. Allen is too stingy to be generous even with his contempt.
  20. If you liked “Garden State” — or if you hated it, for that matter — you pretty much know what you’re in for with Wish I Was Here.
  21. Total Recall is a doggone good time, with a bunch of nifty technical and visual flourishes, competently managed plot twists and elegant, Wachowski-esque action choreography that eventually becomes deadening because there's just too much of it and it's dialed up too high.
  22. Deadly dull.
  23. Every scene is coated with Marshall's thumbprints, ultimately connecting into a manhandled, mangled, misshapen whole, its themes written out in thunderously obvious cues.
  24. The ABCs of Death is one-stop shopping for deviant cinema, a Pu Pu platter of perversity. It made me laugh hysterically, shout with outrage, wince with discomfort and yearn to hide under the sofa, all by the halfway mark.
  25. The Wolfman isn't crazy enough to be fun or multilayered enough to be touching. It's impossible to have any real feeling for this anguished beastie.
  26. I'm fully prepared to hear people write off Dear John as corny, sappy, a movie for chicks. But I'd counter that Hallström's old-fashioned idealism about art and emotion is the more important quality shining through Dear John.
  27. It's merely nutty, a picture that appears to have been made by an individual who has fallen off the edge of reason. Watching it was misery.
  28. Much of the argument Navarro assembles in Death by China is unassailable as to its basic facts, even if the tone and manner of presentation leave much to be desired.
  29. 360
    It's easy to hate movies that are abundantly terrible or immoral or stupid, but I almost feel like a jerk telling you that Fernando Meirelles' globetrotting drama 360 is a mistake from beginning to end.
  30. Freedomland, overall, could have been so much better. But Moore, even in a performance as patchy as this one, is something to watch. She's an echo of the movie that might have been.

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