Salon.com's Scores

For 2,850 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Of Gods and Men
Lowest review score: 0 The Replacements
Score distribution:
2,850 movie reviews
  1. A compendium of every cliché from every bad boxing melodrama ever made, Million Dollar Baby tries to transcend its cornball overfamiliarity with the qualities that have long characterized Eastwood's direction -- it's solemn, inflated and dull.
    • 78 Metascore
    • 30 Critic Score
    Sayles speaks the language of cinematic formula so automatically -- his reunited lovers slow dance to a jukebox in a dark, deserted cafe and wait unannounced outside each other's workplaces when they want to talk -- that he's forgotten that real people don't do this stuff.
  2. One of those movies that you continue to pull for even after it becomes clear that it isn't very good.
    • 76 Metascore
    • 30 Critic Score
    A 3 hour fusillade of cliches.
  3. A bad movie -- really a terrible movie -- with a daring idea behind it. And it's had the sort of crummy luck that, no matter what you think of it, can get you steamed.
  4. Cameron manhandles the real story, scavenging it for his own puny narrative purposes. It's a film made with boorish confidence and zero sensitivity, big and dumb and hulking.
  5. Extravagant in movie terms but stingy in emotional ones, it embodies all of Spielberg's bad impulses and almost none of his good ones: It's a grand display of how well he knows how to work us over, and yet the desperation with which he tries to get to us is repulsive.
  6. It's not just our emotions that are being played on here, it's not just our intelligence being insulted because of Ron Howard and Akiva Goldsman's presumption that we won't have any interest in a character whom it's not always possible to like. It's John Nash's life, being turned into an Oscar machine and an easy way to jerk tears.
  7. It's not badly made, but it's a drag. Leconte's virtues can't overcome the plodding glumness that prevails.
  8. An academic exercise driven by adolescent ideas that never shape themselves into a narrative: in short, a movie that can never dislodge the art fatally wedged up its butt.
  9. Cinderella Man is ostensibly the kind of old-fashioned drama that sends audiences home with a satisfied glow. But like so many of Howard's movies, there's something canned and phony about it -- it left me feeling cooked and dehydrated, as if I'd fallen asleep on a tanning bed.
  10. LaBute is some kind of find: an auteur for people who don't like movies.
  11. Kubrick's much-anticipated final film boils down to the most elaborate monogamy lecture ever.
    • 67 Metascore
    • 30 Critic Score
    A thoroughly bland and mediocre movie about the Cuban missile crisis.
  12. Moore's supporters are quick to impugn the liberal credentials of anyone who criticizes his presentation of the information he digs up (or, in some cases, makes up). For them, Michael Moore is the issues he talks about, so his detractors must be enemies of democratic principles. It's an old trick, akin to the way Pauline Kael was accused of being insensitive about the Holocaust when she didn't like "Shoah."
  13. It's an English movie doing its best to masquerade as the shallowest kind of Hollywood romantic comedy, as if somewhere along the way someone had made a calculated supposition that would be the only kind of comedy American audiences would buy.
  14. It's supposed to be visually exciting, but the result is more like a corpse-strewn Gap khakis ad than a triumph of technique. At least, based on the film's grainy texture and amber lighting, it's nice to know that the guy who shot every porn movie released in the '70s appears to be working again.
  15. There's something offensive about how Mamet continues to win praise as a serious filmmaker with such a joyless picture, a picture that -- intentionally -- gives the audience so little.
  16. Klapisch wants his characters shiny bright, and winds up making them excruciatingly dull in the process. Watching L'Auberge Espagnole is like seeing the young Maoist revolutionaries of Jean-Luc Godard's 1967 "La Chinoise" body-snatched by the international touring company of "Up With People."
  17. An art-house horror movie, and like most art-house versions of genre films, all the vitality and juice of genre conventions have been sucked right out. The irony of the movie is that it puts you into the same torpor that's supposed to be afflicting the characters.
  18. Middlebrow kitsch, but kitsch straining for respectability and therefore without the energy that can make kitsch entertaining.
  19. It's a shame when an actor like Sylvester Stallone, who's always at his most appealing when he just hunkers down and lets himself be a big galoot, feels he has to make a bid for respectability.
  20. Because the movie never fully engages us, it never quite manages to allay our queasiness about watching the boy's distress.
  21. It pretends to examine how self-absorbed we are as a culture, only to be consumed by its own self-absorption. It's also badly constructed, humorless and emotionally sadistic .
  22. A little like looking at pictures without a text to unify them… Prestige filmmaking bereft of inspiration -- sometimes even of the nuts and bolts of craft.
  23. Unless you're a lover of tigers, there's probably no reason to see Jean-Jacques Annaud's Two Brothers. And maybe not even then.
  24. Fitzgerald’s influence could have crept in there by osmosis, and whatever other charges you want to level against Spring Breakers – such as incoherence, plotlessness, salaciousness and mind-numbing monotony – it has no lack of high concept.
  25. Scorsese is pushing, I guess, for something that combines a '40s horror-thriller with a contemporary psychological tragedy. What he ends up with is more like a Hardy Boys mystery directed by David Lynch.
  26. There's so little sexual chemistry between the actors in this film that it seems like a kind of accomplishment. I've seen shows on C-SPAN that were hotter than this.
  27. The Negotiator slogs on for two hours and 20 minutes, and there's hardly a real laugh or a genuine thrill in it.

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