Salon.com's Scores

For 2,935 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 In America
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
2,935 movie reviews
    • 36 Metascore
    • 50 Critic Score
    Generally succeeds. But with just a bit more effort the movie might have been funnier and a lot more fun.
  1. As lousy as it is, Diary of a Mad Black Woman is weirdly fascinating.
  2. It's kind of fun to watch Pacino and Liotta and Tatum and James Ransone, as Jonathan's foulmouthed partner, as they roar at each other and suck the marrow from the hambone. You can see why actors want to work with Montiel, but actors are notoriously bad judges of whether good scenes will ever add up to a worthwhile movie, which is exactly the problem here.
  3. The plot is so convoluted that missing even five minutes at a stretch won't make any difference in your comprehension of the story.
  4. An awkward and distinctly unsexy farcical misfire.
  5. This film's dithering, handsome, morally ambivalent Hamlet, is a profoundly unsatisfactory character.
  6. A grim, sour view of single life.
  7. Despite how easy it would be to write off Righteous Kill as one sorry excuse for lazy filmmaking, there is still something utterly mesmerizing in the palpable chemistry between the two leading men.
  8. Some viewers may find this movie sexist or misogynist simply based on its premise, but it's a mistake to take Greenaway's symbolic narratives too literally.
  9. Challenges us to believe in the power of myth. But the big challenge here is surviving the tedium of Shyamalan's meandering inventiveness. What's supposed to be fanciful storytelling is really just audience punishment.
  10. Unwatchable.
  11. Sells ignorance as a refined evening's entertainment.
  12. The movie's ridiculous good humor -- laced with just enough barbs to keep it from going soft -- suggest that it's been made with some thought and care. I often found myself laughing in spite of no one, not even myself.
  13. Between the 12th floor and the 14th floor, boredom awaits!
  14. It was boring and silly but not atrociously bad. No, that's much too glowing; allow me to back up and rephrase. It is atrociously bad, basically.
  15. As it is, it's too restrained, too often -- too eager to gallop toward postcard sunsets on the beach when tequila shooters and lap dances are what the moment calls for. You'd think the combination of Diaz, Kutcher and Vegas would be good for at least a little sexy, silly fun. But don't bet on it.
  16. One of the most dreadfully unnecessary movies in recent memory.
  17. The picture is an exercise in exploitation joi de vivre, and your enjoyment of it will depend on your tolerance for shameless, reckless, unredemptive violence with relatively little artistic or spiritual value. After all, there's a time and a place for everything.
  18. May be far from perfect, but those small, odd Hartley touches help you warm to it.
  19. There's nothing unconventional or daring about On_Line, but considering how cheap it undoubtedly was to make, the acting, writing and direction all stand up pretty well; this is more intelligent and better structured than at least half the Hollywood movies I see.
  20. Just slides off the screen and disappears.
  21. A wildly uneven and sloppily directed movie, full of clashing tones and undigested bits of superior films.
  22. Love's Labour's Lost is flawed, but Kenneth Branagh remains our greatest living interpreter of Shakespeare.
  23. When Pegg is breaking protocols with his uniquely ballsy aplomb, dancing like a doofus or doing battle with Venetian blinds, the film almost flies.
  24. Gets more cluttered and confused as it moves along.
    • 35 Metascore
    • 50 Critic Score
    Though dazzled by its ultra-modern wizardry and the high gloss of its production values, one can also feel the globalist double standard roiling underneath the adolescent-kid fantasy plot. Jumper tells us that Americans fantasize about getting rich by stealing and going everywhere they want without restrictions; that they are materialistic, disrespect foreign antiquities, and remain blind to their own and to world history.
  25. Revenge of the Fallen just comes off as a bratty kid showing how many swear words he knows.
  26. Ultimately feels somewhat overprocessed, and its humor is a little too broad at times -- it probably crosses the acceptable threshold of penis and boob jokes.
  27. No serious film fan could stomach the cheap gags and farting contests in this goofball tribute. I laughed myself stupid anyway.
  28. Gloriously excessive, passionate and messy, A Life Less Ordinary is the kind of picture that's becoming more and more of a rarity in the landscape of American movies: a love story with a hard-on.

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