Salon.com's Scores

For 3,088 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 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Elena
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
3088 movie reviews
  1. Inherent Vice is like that; you’ll have to enjoy it for the pileup of exquisite images and hilarious episodes, and let go of the need to hold the whole thing in your head, or you won’t enjoy it at all.
  2. Dore does not gloss over the ideological excesses or internal quarrels of feminism, but more than anything else she captures the excitement of that era, the growing sense of solidarity as more and more women discovered that their dissatisfaction was not an individual matter.
  3. Aided by witty and understated work from Baldwin and Stewart and the capable direction of Glatzer and Westmoreland, Moore does her utmost to pull Still Alice toward the realm of meaningful social drama. Let’s put it this way: It’s a way better movie than it ought to be, but not good enough to escape its pulpy, mendacious roots.
  4. Wild the movie has a curiously unsticky and unmemorable quality, as if it had melted along the journey, a Sierra Nevada snowball in the Mojave Desert. It has the same nearly invisible flaws as “Dallas Buyers Club,” Vallée’s last agreeable pop-anthropology fable of fall and redemption, but writ larger: It’s just that little bit prepackaged, it stands off from us a little too far. It wants us to feel, but not to feel anything dangerous.
  5. This could have been a story of immense heroism, tragic sacrifice and agonizing historical irony, and it hints in that direction, in its stiff-upper-lip fashion, before retreating into a vain search for a happy ending and an effort to turn itself into “The King’s Speech.”
  6. A strange and gorgeous and haunting film that brings the indie aesthetic of the mid-1980s into a context that feels both timeless and highly contemporary.
  7. A penultimate chapter without a real ending, but it’s also a thrilling ride full of potent emotions, new characters and major twists of fate, built around another commanding star performance.
  8. Any thriller from first-time directors that starts out with a couple of teenagers in a Texas diner talking about legendary pulp novelist Jim Thompson has a super-steep hill to climb. Here’s what I can say for Bad Turn Worse... It may not make it all the way up that steep slope, but the effort is pretty doggone entertaining.
  9. Jones, as always, knows what he’s doing. In only his second feature as a director, the laconic 68-year-old star has made a wrenching, relentless and anti-heroic western that stands among the year’s most powerful American films. Not everyone will like The Homesman, but if you see it you won’t soon forget it.
  10. Foxcatcher is another strange and compelling anthropological drama from Miller, a director with evident expertise at enabling Oscar-worthy star performances.
  11. Sometimes a story – a true story, a fictional one or a hybrid of the two – is sufficiently powerful and intriguing that it can break through the formula and packaging around it. Such is almost but not quite the case with The Theory of Everything.
  12. So this is the greatest Shyamalan movie ever made by someone else, or maybe it’s Christopher Nolan’s best impression of what a Shyamalan movie ought to be like. No doubt that sounds like a backhanded compliment, but I don’t entirely mean it that way.
  13. Nightcrawler executes its ideas with tremendous craft and cool, and the courageous and counterintuitive pairing of its leads — Russo is 60, and Gyllenhaal 33 – produces two electrical, interlocking performances and undeniable erotic chemistry.
  14. I enjoyed this movie more thoroughly, and more liberated from frustration and ambivalence, than anything Godard has made in at least 20 years. It provided me with an interpretive frame that may even lead me back to another crack at “Notre Musique” (2004) and “For Ever Mozart” (1996) and most of all the extraordinary 1988-1998 video documentary series “Histoire(s) du cinéma.”
  15. As Margaret Brown’s quietly devastating documentary The Great Invisible makes clear, the oil companies and the resource-guzzling, planet-poisoning economy they drive are too big to fail, and our entire consumerist culture of ever-cheaper goods and 24/7 convenience is bigger still.
  16. 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.
  17. Once you adjust to Listen Up Philip, it’s also invigorating, disturbing and frequently hilarious, but that adjustment’s not entirely painless.
  18. 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.
  19. Like Ayer’s cop flicks, Fury is a gripping ride all the way through, if somewhat restricted in its emotional and visual range.
  20. The Overnighters is a documentary about real people in a real place. This is both amazing and frustrating.
  21. Murray, as always, supplies any number of small, memorable moments — he ultimately relies on the same defanged sentimentality.
  22. The Judge is watchable but thoroughly specious. It’s dull and reassuring, an infantile fantasy of homecoming and forgiveness set in a mythical version of America no one in the target audience has ever seen.
  23. With Men, Women & Children and the equally laborious “Labor Day,” Reitman has gotten trapped amid the crumbling edifice of Hollywood. It’s turning him old before his time.
  24. Amalric and cinematographer Christophe Beaucarne structure much of The Blue Room around Julien’s bewildered and increasingly disheveled face, as he tries (and fails) to understand the people around him.
  25. It’s a work of chilly wit and bleak metaphor, an artifice that invites the kind of analytical response where we pull on our chins and discuss how other people, more naive than we, will receive it.
  26. The damn thing is, Ridley very nearly makes this insuperable obstacle work to his benefit. He delivers a flawed, ambitious and deeply peculiar portrait of one of the 20th century’s most enigmatic musical talents, in the year before he ascended to rock-god status, that resembles no other pop-music biopic you’ve ever seen.
  27. The Equalizer is gripping, mysterious and even sometimes moving, but it’s never pleasant, still less fun. If you decide to go, don’t claim you weren’t warned. If you skip it, you’re missing one of the year’s signal works of superior Hollywood craftsmanship.
  28. A subtle, underplayed psychological drama with terrific work by all three actors.
  29. For the most part, 20,000 Days on Earth – the approximate amount of time Cave has been alive on this planet – is an imagistic and impressionistic work, a Nick Cave-esque tone poem driven by moments of visual and thematic juxtaposition you either have to reject or accept.
  30. Frequently irritating and occasionally insulting.

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