Julie Salamon

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For 95 reviews, this critic has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.4 points lower than other critics. (0-100 point scale)

Julie Salamon's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 The Grifters
Lowest review score: 0 Ferris Bueller's Day Off
Score distribution:
  1. Positive: 51 out of 95
  2. Negative: 13 out of 95
95 movie reviews
    • 44 Metascore
    • 50 Julie Salamon
    Everyone on screen is relentlessly gloomy, as if parched for a drop of wit, which isn't forthcoming.
    • 85 Metascore
    • 90 Julie Salamon
    [Crowe] knows how to shape a scene and he's never cheap with characterization; adults are permitted to be as complex as their children; a rare event in pictures. [18 May 1989, p.A14(E)]
    • Wall Street Journal
    • 77 Metascore
    • 50 Julie Salamon
    This is all very strange and a little tedious. Yet there is something arresting and oddly poignant in Mr. Van Sant's playful vision of the road to nowhere. [3 Oct 1991, p.A14(E)]
    • Wall Street Journal
    • 79 Metascore
    • 40 Julie Salamon
    The only thing Mr. Tarantino spells out is the violence. I have seen much more blood spilled, yet I felt sickened by the coldness of this picture's visual cruelty. [29 Oct 1992, p.A11(E)]
    • Wall Street Journal
    • 72 Metascore
    • 80 Julie Salamon
    Heathers gave me the creeps but it also made me laugh. This bizarre variation on that Hollywood staple, the teen movie, is one weird original. [30 Mar 1989 p.A12(E)]
    • Wall Street Journal
    • 93 Metascore
    • 80 Julie Salamon
    What's fun about this movie is the sight of Mr. Irons's Claus stalking the mansion like a tall, skinny ghost smiling at the perverseness of it all. [18 Oct 1990, p.A14(E)]
    • Wall Street Journal
    • 17 Metascore
    • 30 Julie Salamon
    Despite all of its failures of wit, sense, and pace, the film does most effectively flaunt the millions spent on it. The inane action takes place in splendiferous settings. [23 May 1991]
    • Wall Street Journal
    • 79 Metascore
    • 100 Julie Salamon
    Extraordinary...The movie has the intensity of an epic, only its subject matter is everyday life. [19 Oct 1993, p.A18(E)]
    • Wall Street Journal
    • 89 Metascore
    • 100 Julie Salamon
    With its breathtaking visual style and careful attention to sound and movement, the movie provokes contemplation about the ways people communicate – through words, through music, through sex, and, most significantly, through touch. [14 Dec 1993, p.A14(E)]
    • Wall Street Journal
    • 90 Metascore
    • 100 Julie Salamon
    A magnificent movie. [19 Oct 1993, p.A18(E)]
    • Wall Street Journal
    • 76 Metascore
    • 70 Julie Salamon
    Mr. Singleton is a very good storyteller, but every once in a while he stops his story cold with speeches. You can feel the audience lost interest, as though a commercial has suddenly popped on screen. [18 July 1991, p.A9(E)]
    • Wall Street Journal
    • 85 Metascore
    • 100 Julie Salamon
    It's powerful entertainment. [22 Sept 1992, p.A16(E)]
    • Wall Street Journal
    • 61 Metascore
    • 0 Julie Salamon
    One of the least appealing movies I've seen in a while.... When a member of the audience belched loudly, that got the biggest laugh of the day. [17 June 1986, p.E26]
    • Wall Street Journal
    • 55 Metascore
    • 40 Julie Salamon
    It's just that the picture doesn't have a strong idea behind it, just a fog of many half-expressed ideas. [26 Feb 1987, p.20(E)]
    • Wall Street Journal
    • 68 Metascore
    • 50 Julie Salamon
    These fraternal film makers have a lot of imagination and sense of fun - and, most of all, a terrific sense of how to manipulate imagery... But sometimes they seem to be getting too big a kick out of their own shenanigans. By the end, the fun feels a little forced. [26 Mar 1987, p.34(E)]
    • Wall Street Journal
    • 52 Metascore
    • 40 Julie Salamon
    Hoffman and Beatty are so tone-deaf they don't even know how to play the songs for deadpan humor. They seem old, white, and without shtick. [14 May 1987, p.26(E)]
    • Wall Street Journal
    • 80 Metascore
    • 70 Julie Salamon
    It's all rather amusing, but after awhile you tire of all the perfect little nuances about characters who seem like prototypes for a certain type of Victorian novel. [6 Mar 1986, p.23(E)]
    • Wall Street Journal
    • 90 Metascore
    • 90 Julie Salamon
    Persistently upends expectations without insult, as it pulls you into a netherworld filled with yearning, whimsy, and danger. [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
    • 86 Metascore
    • 100 Julie Salamon
    Mr. Frears is as good with the small touches as he is with the big ones – and that means they're great. [24 Jan 1991, p.A8(E)]
    • Wall Street Journal
    • 69 Metascore
    • 60 Julie Salamon
    But even as the film's weaknesses make themselves more and more apparent, so does Mr. Turturro's virtuosity. [15 Aug 1991, p.A10(E)]
    • Wall Street Journal
    • 86 Metascore
    • 100 Julie Salamon
    This brilliant satire, styled as a murder mystery, is the best insider's view of Hollywood since "Sunset Boulevard." [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
    • 94 Metascore
    • 100 Julie Salamon
    The most imaginative movie to come along in ages. [18 Oct 1994, p.A14(W)]
    • Wall Street Journal
    • 76 Metascore
    • 30 Julie Salamon
    By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]
    • Wall Street Journal
    • 65 Metascore
    • 70 Julie Salamon
    A warm-heared picture with some hot dancing, some B movie class consciousness, lots of nostalgia and lots of cliches. [3 Sept 1987, p.17(E)]
    • Wall Street Journal
    • 77 Metascore
    • 100 Julie Salamon
    The movie has its own genuine charm and one hilarious high: Billy Crystal & Carol Kane are simply wonderful. [24 Sept 1987, p.24(E)]
    • Wall Street Journal
    • 83 Metascore
    • 70 Julie Salamon
    [(Cher's) never been better. [5 Jan 1988, p.22(E)]
    • Wall Street Journal
    • 65 Metascore
    • 90 Julie Salamon
    A film that is both touching and generous of spirit - and funny as well. [15 Dec 1988, p.A16(E)]
    • Wall Street Journal
    • 93 Metascore
    • 100 Julie Salamon
    A movie that falls outside the ordinary, or even the extraordinary. There is enormous passion and artistic integrity throughout this film. [11 Jan 1994, p.A10(E)]
    • Wall Street Journal
    • 62 Metascore
    • 60 Julie Salamon
    Though not terribly interesting as political philosophy, A Few Good Men makes for a passably entertaining movie. [31 Dec 1992, p.A5(E)]
    • Wall Street Journal
    • 66 Metascore
    • 80 Julie Salamon
    With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]
    • Wall Street Journal

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