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 Tuesday, After Christmas
Lowest review score: 0 House on Haunted Hill
Score distribution:
3070 movie reviews
  1. Alexander Payne's new movie, Sideways, makes you feel like you're trapped at dinner with a wiseass who's trying to convince you what a sensitive guy he is.
  2. There are epic impulses everywhere you look in There Will Be Blood; what's missing is character development, focused storytelling and, most significantly (apart from that terrific opening sequence), any sense of raw, intuitive drama.
    • 90 Metascore
    • 60 Critic Score
    Though it may be a much clearer picture of the director's original intent, ultimately the new "Apocalypse Now" merely brings into focus the limits and faults of Coppola's -- and Milius' -- original concept.
  3. Eastwood is so busy humanizing Japanese soldiers that he ends up rewriting history.
  4. While the filmmaking overall suffers from a kind of tasteful, low-key blandness, Philip Seymour Hoffman's portrayal of Capote keeps the blood coursing through it. He's the bright, chilling spot of color at the center of an otherwise beige movie.
  5. Up
    Save for a few inspired canine gags and a handful of very pretty visual details, Up left me cold. Its charms appear to have been applied with surgical precision; by the end, I felt expertly sutured, but not much else.
    • 87 Metascore
    • 60 Critic Score
    A corny, old-fashioned backstage farce.
  6. Takes great pains to be a compassionate love story; but the filmmaking itself, self-consciously restrained and desiccated, is inert and inexpressive.
  7. His (Miyazaki) stories, and often his character design, just leave me cold. I know I'm supposed to be magically transported by his fanciful tales and his whimsical grandiosity, but they make me listless.
  8. It remains a puzzling dream, vivid in detail and overly obvious in symbolism, fueled by half-digested lumps of malice and wonder.
    • 85 Metascore
    • 50 Critic Score
    To the extent that the joke is on us, the audience, and the decadent taste we've acquired for flashy violence, it works; point taken.
  9. Had Payne the grace or generosity to present the vulgarity and naiveté and tackiness of these characters as something vital and endearing and delightful, the movie might have been explosively funny.
  10. Calle 54 doesn't have that coherence or vision of the "Buena Vista Social Club."
  11. Am I alone in thinking that computer animation is the work of the antichrist?
  12. The evident strengths and laudable intentions of Before the Devil Knows You're Dead (and even the appeal of Marisa Tomei in her undies) are overwhelmed by an implausible plot verging on unintentional comedy and a panoply of Noo Yawk dirt-bag supporting characters who might've seemed awkward on a 1993 episode of "NYPD Blue."
  13. It is a very expensive-looking, very flashy entertainment, albeit one that groans under the weight of clumsy storytelling in the second half and features some of the most godawful dialogue this side of "Attack of the Clones."
  14. For a big-budget action movie Spider-Man 2 is modest and not assaultive -- it has a boring decency.
  15. If Paranoid Park is mainly an accumulation of the signs and symbols and images inside Van Sant's own head, that's artistically legitimate. When he makes a feeble effort to connect Alex's plight to the Iraq war and the cultural climate of Bush-era America, I just don't buy it.
  16. Not far below the surface Captain Phillips is also an unpleasant and uncomfortable experience, a film that’s not entirely happy with itself.
  17. Comes off not as topical but as opportunist. The picture is brushed with a fine glaze of slickness, a product sealed in a blister pack. It's like airplane air -- it has a packaged freshness that isn't really fresh at all.
  18. When one of the young women Vera attends to nearly dies of complications, the police arrest her -- and the movie goes thud, taking Staunton's performance along with it.
  19. The picture throws off no feeling, not even the misanthropic kind; at best, it manages a dull, throbbing energy, as if Burton were dutifully pushing his way through the material instead of shaping it.
  20. Amid the infoglut that surrounds us, Gibney's film feels too much like more noise. Is it telling the most important business story of our lifetimes, or is it just another fantastical yarn, crammed into the schedule after Scott and Laci Peterson, but before Charlemagne and the ancient Peruvian astronauts?
  21. Nolan may want us to believe in the darkness that lurks within each of us, but instead of leading us to it visually, he chops it up and sets it out in front of us, a grim, predigested banquet.
  22. A singularly unpleasant movie.
  23. You can choose to understand The Force Awakens as an embrace of the mythological tradition, in which the same stories recur over and over with minor variations. Or you can see it as the ultimate retreat into formula.... There are moments when it feels like both of those things, profound and cynical, deeply satisfying and oddly empty.
  24. The plot of Howl's Moving Castle meanders so listlessly that its details become less and less charming.
  25. Whenever Harris or Tobolowsky come on-screen they stop Memento dead in its clever tracks. You want to tell Nolan to stop all the po-mo deconstructive game playing and pay attention to the two human beings in front of him.
  26. Condon's tone is gentle and lifeless and at times baffling: The picture is a weird cross between clinical and whimsical.
  27. Well-meaning but remote picture.

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