Salon.com's Scores

For 2,971 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 House on Haunted Hill
Score distribution:
2,971 movie reviews
  1. Does become more engaging as it lurches along, perhaps because you give up hoping that anything will really happen and settle into the Nicolas Roeg-meets-David Lynch-at-the-cast-party-for-"Taxi Driver" atmosphere of mid-'70s nothingness.
  2. Watching a movie should never be such torture.
  3. A cupcake of a movie, a sweet and lightweight little thing that's all but served up in a ruffled paper cup.
    • 34 Metascore
    • 0 Critic Score
    The special effects look model-shop cheesy, as if they'd been created using a handful of action figures and MacPaint, and the rest of the picture has the flat visual finish and phoned-in performances of a TV movie.
  4. The picture, despite the grand panoramic scale Emmerich has tried to give it, is dopey and static. Its finest moments belong to the thundering herd of woolly mammoths who storm through the picture sometime in its first half-hour.
  5. A Garry Marshall movie has to be funny in order to be anything at all, and this one is so deeply involved with its pseudo-meaningful roundelay of beautiful but inexplicably lovelorn people as to be teeth-grindingly, mind-warpingly boring.
  6. The comedy is tepid, the action is dopey and even the violence is boring and occasionally cruel.
  7. As irritating as Lake Placid sometimes is, it also has an easygoing sense of fun, along with one of the more memorable movie monsters of recent years. The mismatched ingredients blend into a blissfully, stupidly surreal summer cocktail.
  8. It may be a haphazard mess, but it's actually pretty funny.
  9. What's missing -- apart, of course, from a plot -- is any character development.
  10. It's a challenge to take a comic-book adaptation that stars Josh Brolin, John Malkovich and Megan Fox and drain nearly all the fun out of it. Jonah Hex is one of those movies that combines a certain amount of being ridiculous on purpose with a great deal of pseudo-profound silliness.
  11. Quickly plunges into boggy terrain from which it can never extricate itself.
  12. It's a sloppy, fun, late-'80s style Hong Kong action flick full of pogo-dancing zombies and voracious vampires who look vaguely like Siamese cats with spoiled cottage cheese cooked onto their faces.
  13. Such an inept bundle of work -- crying out for the filmmaking equivalent of Ritalin, but still sluggish as syrup -- that it doesn't even provide an opportunity to ogle properly.
  14. For the most part it's a blast.
  15. Never having read the book, I found Blood and Chocolate to be a lovely surprise, an imaginative and visually lush picture firmly rooted in the tradition of gothic romance and elegiac horror films about misunderstood monsters.
  16. The good news is that Duchovny has an undeniable feel for this medium, and a fine rapport with actors.
  17. If it were terrible, you could at least sink your teeth into it; but Welcome to Mooseport is like a biscuit soaked in water, ready to be gummed instead of chewed.
  18. A movie that wants to be "Speed" so badly that it runs roughshod over the essentials, including a decent script.
  19. Sucker Punch doesn't all work by a long shot, but it confirms my sense that Snyder belongs near the top of a very short list of directors who are trying to reinvent a personal, auteurist vision of cinema at the most commercial, mass-market, attention-disordered end of the spectrum.
  20. I'm not sure whether to recommend The Baytown Outlaws as a guns 'n' glory time-waster or warn you off it as a piece of mendacious trash. So I'll do both.
  21. It's a limp romantic drama that occasionally lifts its drowsy head to attempt a wan smile, a picture that starts out being harmlessly dull and ends, somehow, in a place that feels insultingly manipulative.
  22. Maybe I'm expecting too much of Cyrus. But The Last Song rests heavily on her alleged appeal, and I can't remember the last time I came across such a singularly charmless teenage performer. I hesitate to even use the word "actress."
  23. As a symbol of what some filmmakers and some studios think the public will buy, it's a horrific piece of work. How dare anyone put this piece of c--- in front of me. How dare anyone put it in front of YOU.
  24. Familiar and profoundly unoriginal.
    • 33 Metascore
    • 50 Critic Score
    The nice thing about seeing so much time, money and effort go into a bland film is that it makes you appreciate truly inspired filmmaking even more.
  25. An Adam Sandler comedy, which means it bears only a superficial relationship to the customary conventions of moviemaking, and also that there's no use getting all worked up about that.
  26. Mildly grisly, assaultively noisy and tremendously boring.
  27. It's not merely that Dear Wendy was shot on Danish and German locations that don't look quite right; it's that almost every decision made by the production designers is wrong, or at least discordant.
  28. A dismally unfunny comedy, but that's not what's depressing about it. Worse by far is the palpable desperation in Goldie Hawn's performance.

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