Salon.com's Scores

For 3,070 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Armadillo
Lowest review score: 0 The Amityville Horror
Score distribution:
3070 movie reviews
  1. Borat is an astonishingly entertaining picture, and it's a testament to Cohen's gifts that he can pull off a feat as extravagant and as fully realized as this one is.
  2. What emerges is an astonishing debut, unlike anything else you'll see this year.
  3. This is one of Anderson’s funniest and most fanciful movies, but perversely enough it may also be his most serious, most tragic and most shadowed by history, with the frothy Ernst Lubitsch-style comedy shot through with an overwhelming sense of loss.
  4. There’s a terrible wonder in this rare glimpse inside a country that has tried to empty itself of all thought, all commerce and all civil society — of pretty much everything except an especially lame version of hero worship and despotism.
    • 75 Metascore
    • 90 Critic Score
    So seamlessly buoyant and enjoyable that it's easy to miss how carefully and sensitively it's made.
  5. Walking out of the theater, I felt so bereft that I couldn't speak. And it doesn't hurt any less thinking about the movie now, as I write this.
  6. The 1996 kidnap drama Ransom traverses the parameters of public life in America, from the image public figures present to us to the image they never intended us to see. Neither one tells the whole truth. Luckily, Ransom isn't content with surfaces..
  7. It's the most original picture by an American director I've seen this year, and also the most delightful.
  8. It's also possible, I suppose, that a movie as deranged and grotesque and spectacular as Álex de la Iglesia's near-masterpiece The Last Circus, an overcooked allegory that's been dialed to 11 in all directions, simply doesn't appeal to you. But if you like your baroque sex and violence with a side dish of heavy-duty symbolism, and if the idea of an unholy collaboration between, say, Guillermo del Toro, Federico Fellini and William Castle appeals to you, then put The Last Circus on your must-see list right now.
  9. If this isn’t quite a great movie, it should be an immensely gratifying one for sci-fi fans tired of the conceptual overkill and general dumbness of “Prometheus” or “Star Trek Into Darkness.”
  10. I was thrilled and transported by it. It's a two-hour movie, and I'm only sorry it isn't two or three times as long.
    • 78 Metascore
    • 90 Critic Score
    Eve's Bayou treads across a fragile and complex emotional landscape, and Lemmons is exceptionally adept at creating characters who are simultaneously despicable and lovable.
  11. It's a fine-grained picture that goes for the sideways laughs rather than the straight-ahead ones. This is sketch comedy as method acting.
  12. A big movie for the ages, full to the brim with sympathy, imagination and sheer visual delight.
    • 88 Metascore
    • 90 Critic Score
    Just as good as the original. In fact, it might even be better. Not only is it just as visually stunning and witty as the first, but it's funnier, more thoughtful and more grown-up.
  13. This story about Joyce McKinney, a one-time beauty queen who found herself not once but twice at the center of outrageous, tabloid-friendly news stories, is another of Morris' alternately hilarious and disturbing inquiries into the slippery nature of truth.
  14. The Hangover is a shaggy-dog tale that's actually, when you step back from it, perfectly shaped.
  15. A sad, sweet, funny and ultimately unforgettable love story about a man and a woman and a father and son, and also ranks among the most affectionate and sensitive portraits of homosexuality ever crafted by a straight person.
    • 85 Metascore
    • 90 Critic Score
    An epic documentary...as rich and teeming as a Balzac novel.
  16. A highly enjoyable failure, a quandary that can't resolve itself.
  17. Curran, his actors and screenwriter Ron Nyswaner have made an old-fashioned melodramatic epic that, as steeped as it is in the language and tradition of old movies, is never less than thrummingly alive.
  18. For the right kind of film buff, it's absolutely one of the most enjoyable pictures of the year - and if you've never heard of the guy before, I can't imagine a better place to start.
  19. I found this dark odyssey through an amoral dream Brooklyn curiously invigorating; it’s a masterful construction that held me rapt from first shot to last, that builds intense electrical energy and then releases it.
  20. This heart-wrenching documentary about a French village schoolteacher at work offers the comedy and pathos of great drama and the visual magnificence of painting.
  21. As a pure head-trip visual and auditory experience it feels like one of the biggest discoveries, and biggest surprises, of 2014.
  22. This delicious little period piece from Spanish writer-director Pablo Berger is like one of those really expensive chocolates, where you start out expecting a brief sugar buzz and end up surprised by the sophistication and delicacy of the flavor.
  23. One of the best films of the year.
  24. I'm not going to tell you this is the best European film of the year, but it's definitely the hottest -- it's the one you want to run out and see as soon as you possibly can.
  25. This long shot pays off -- in spades. Not only has Jordan made a movie that's looser, hipper, freer and -- abetted by his great cinematographer, Chris Menges -- more sheerly beautiful to look at, he's also made the best movie of his career.
  26. Soderbergh's film is probably not the equal of either Tarkovsky's 1972 predecessor or the memorably Byzantine prose of Lem's novel, but in the end, almost despite himself, this able craftsman has made a brave and lovely companion piece to both of them. His ending is pure cinema at its most marvelous and moving.

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