Salon.com's Scores

For 2,934 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Cloud Atlas
Lowest review score: 0 Air Force One
Score distribution:
2,934 movie reviews
  1. A lush, modern valentine to old-fashioned sentiment, and to old-fashioned moviemaking, too.
  2. A work of immense mystery and strangeness, loaded with unforgettable images, spectacular sweeps of color and nested, hidden meanings. It feels to me like a meditative epic about Japan’s traumatic journey into modernity, and a complicated allegory about the innocence, arrogance and culpability of artists. It’s one of the most beautiful animated films ever made, and something close to a masterpiece.
  3. You don't have to know the first thing about modern dance to be transported to an alternate state of consciousness by Pina, which is utterly free of Wenders' cloying sentimentality (perhaps because it's an elegy for a dead friend) and might be the first of his films I've loved all the way through since his 1987 masterpiece, "Wings of Desire."
  4. It's a distinctive, ominous and hypnotic work of cinema.
  5. Instead of sticking with the familiar, Scorsese has followed his impulses into something that feels entirely new but is still distinctively his. He has made a potential holiday classic, an exciting, comic and sentimental melodrama that will satisfy children and adults alike and reward repeat viewings for many years to come.
  6. Fast-paced, often hilarious fun and involves an imaginative and deeply weird use of cutting-edge digital animation.
  7. I recognize how few horror movies I've seen before or since that ever manage to capture such a tangible feeling of menace.
  8. Unlike so much contemporary horror, it's devoid of sadism and mean-spiritedness. The looseness Raimi allows himself here results in an especially joyous kind of filmmaking, the sort where the filmmaker's delight in scaring us (and making us laugh) becomes part of the movie's fabric.
  9. Bruno Dumont's Hadewijch is one of two small-release art films this season that deliver nuanced and fascinating portraits of faith.
  10. But at his best - and his new movie, The Day He Arrives, is among his very best - Hong offers a strange mixture of magic, mystery, rueful melodrama and dry comedy that's like absolutely nothing else.
  11. It’s so assured and accomplished, so rigorous on both a human and technical level, and so clearly driven by love for this harsh landscape and its hardened people, that I was entirely swept away by its characters and their story.
  12. An inexpressibly beautiful and moving film, even though (or because) it seems to be about someone unimportant doing something irrelevant, perhaps something silly, in the face of insurmountable odds and a world that doesn't care.
  13. If possible, Roberts' movie-within-a-movie is even more amazing than it sounds. She captures a tale of courage, heroism and tragedy more thrilling than any Hollywood spectacle.
  14. You need to give Love Is Strange your eyes and ears and attention, let it work its effects on you gradually, like the lovely Chopin piano music that forms the spine of its soundtrack.
  15. The most original, daring, thrilling movie to be released this year, Trainspotting is one of those occasional, astonishing triumphs of risk and imagination that gets you excited about what smart people, pushing themselves and the medium, can accomplish in the movies.
  16. 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.
  17. Although Cutie and the Boxer is one of the most unsentimental and unstinting portraits of marriage ever brought to the screen, there’s considerable hopefulness and love in it, and it illustrates the adage that whatever you can survive will ultimately make you stronger.
  18. Venus belongs to O'Toole. This is, hands down, my favorite performance of the year, largely because I love the way O'Toole (and the filmmakers) refuse to yield to the all-too-pervasive idea that it's "icky" for old people to even think about sex.
  19. A remarkable accomplishment, a swirling, choral sea of humanity that forces us to confront that a man who does terrible things can also be a loving father who gives his infant daughter a bath.
  20. Crisply and competently filmed, Tell No One is an intriguing sample of new-school French cinema at the more commercial end of the spectrum.
  21. Intelligent, visually rich filmmaking.
  22. A moving, surprising and provocative baseball flick that rises immediately to No. 1 with a bullet on my personal list.
  23. Blissful, blazingly intelligent adaptation.
  24. Birds are not just the movie's stars, but its whole universe. They inspire in Perrin and his crew, and in us, not just awe but humility. You'll never look at them the same way again.
  25. Hunger is a mesmerizing 96 minutes of cinema, one of the truly extraordinary filmmaking debuts of recent years. It's also an uneasy, unsettling experience and is meant to be.
  26. Under the guise of being nothing more than a quasi-documentary about two comedians cutting up and scarfing gourmet cuisine, The Trip may be the wryest and most affecting of all the recent movies about middle-aged male angst.
  27. One of the greatest fantasy films of all time.
  28. Hirschbiegel and Eichinger, along with their large, brave and talented cast, have done something extraordinary for their generation of Germans, and for the world. They have willfully entered their grandparents' dirtiest, clammiest chamber of secrets.
  29. Footnote has two of the best performances I've seen in world cinema over the past year: One from Shlomo Bar Aba (apparently best known in Israel as a stand-up comic and stage actor), playing the aging, bitter philologist Eliezer Shkolnik, and the other from Lior Ashkenazi, one of the country's best known movie stars, as his son and rival, Uriel.
  30. Shot in spectacular black-and-white by cinematographer Christian Berger, and marvelously acted by a first-rate German ensemble, The White Ribbon captures a mood of thickening tension and mounting violence.

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