For 2,138 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 10.8 points lower than other critics. (0-100 point scale)

Marc Savlov's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Ran
Lowest review score: 0 Christmas with the Kranks
Score distribution:
2138 movie reviews
    • 54 Metascore
    • 40 Marc Savlov
    For all its hot button, au courant moral messaging, Joe Bell is preaching to the converted and unlikely to draw in the type of audience that actually needs to hear its pleas for kindness in a mean and wild world.
    • 58 Metascore
    • 50 Marc Savlov
    F9
    It's overstuffed with all the actors wasting both the viewers’ and the movie’s running time by actually speaking dialogue when we all know that what audiences really want to see is outrageous vehicular slamslaughter.
    • 70 Metascore
    • 78 Marc Savlov
    Ultimately, Truman & Tennessee is a fascinating but melancholy mash note to the enduring friendship of two genius misfits who, despite constant self doubt barely masked by a raconteur’s seeming insouciance, rocked the literary (and cinematic, despite their mutual distaste for filmic adaptations) world at, in hindsight, just the right time.
    • 64 Metascore
    • 89 Marc Savlov
    Everything about Gaia works in tandem to create a steadily escalating mood of Blastomycotic body-horror distress (including Pierre-Henri Wicomb’s anxiety-inducing score). Fans of Jeff VanderMeer’s Southern Reach trilogy and its Annihilation adaptation, and lovers of the defiantly feminine and vengeful natural world will find plenty to chew on in Gaia.
    • 76 Metascore
    • 78 Marc Savlov
    Character-driven movies this brutally honest about life below the poverty line are few and far between, but the ensemble cast and Riegel’s skills not only behind the camera but also – judging from her lean and mean script – behind the keyboard help Holler rise above expectations and overcome cliche.
    • tbd Metascore
    • 78 Marc Savlov
    It clings to your psyche, a parasitic creepy-crawl of anxiety that will test the viewer’s own ability to get a good night’s sleep long after the closing credits fade to black.
    • tbd Metascore
    • 67 Marc Savlov
    Los Hermanos's fly-on-the-wall focus on the brothers twisty, unpredictable predicament feels scattershot at times.
    • tbd Metascore
    • 67 Marc Savlov
    Duty Free is for the most part free of gooey sentiment and clingy regrets. Regis (who eventually funded the on-and-off-again production of the film via Kickstarter) captures a remarkable portrait of a woman on the verge of … anything other than a nervous breakdown, mater triumphantes.
    • 69 Metascore
    • 78 Marc Savlov
    It’s a slight film, really a seriocomic tone poem about the absurdities and obstacles we can create for ourselves even when our intentions are for the best, but it brims with ordinary everyday good cheer and feels like just the right movie at just the right time.
    • 22 Metascore
    • 40 Marc Savlov
    The plot mechanics, action set pieces, and characters arcs – or lack thereof – are all dreadfully overfamiliar, resulting in a cream puff of a thriller. It’s a shiny, pretty thing and probably a decent filler flick while the world waits for Mr. Wick’s return.
    • 90 Metascore
    • 89 Marc Savlov
    McKim’s documentary is as jangly and urgent as its subject and his art, and it packs a melancholy wallop, using the artist’s own running commentary via cassette tape (there were two hundred hours of it) and layering it over snatches of Wojnarowicz’s Super 8 films, countless photographs, and recollections from those who were both there at the start of Wojnarowicz’s career and at the end of his life.
    • 44 Metascore
    • 50 Marc Savlov
    This is a more hardscrabble, beaten down version of Neeson’s iconic revengers than most of his action roles, with Hanson coming across as sympathetically appealing despite the cliched storyline.
    • 63 Metascore
    • 78 Marc Savlov
    Through it all Philps keeps her camera low the better to represent the children’s as-yet-unformed POV, both literally and emotionally
    • 77 Metascore
    • 67 Marc Savlov
    It ends up being a smashingly good and goofball history of the non-world of Canadian history and flim-flammery, deeply committed to its own colonial crazy.
    • 27 Metascore
    • 20 Marc Savlov
    Less a Nic Cage movie than a movie with an extended cameo by Nic Cage in a “finely crafted” paper hat (!), this Greek/Cypriot co-production mixes mediocre martial artistry with a sci-fi spin and ends up a puzzlement to both genres.
    • 20 Metascore
    • 30 Marc Savlov
    Mortal plods along for most of its running time with the occasional helicopter chase scene and plenty of CGI fulminology: But ultimately Ovredal’s not-so-deep-dive into Norwegian mythos is a too-obvious let down.
    • 72 Metascore
    • 78 Marc Savlov
    Possessor is queasy-smart near-masterpiece of psychotronic slippage. Like its protagonist’s risky psychogenic recollections, it’ll stick with you whether you’d like it to or not.
    • 26 Metascore
    • 30 Marc Savlov
    At least this excursion into mediocrity is relatively brief, although, as mentioned, a vastly shorter cut would be much preferred.
    • 62 Metascore
    • 67 Marc Savlov
    Collins, who also wrote this woeful, dolefully humorous take on mankind’s endless struggle to overcome the banal but no-less soul-sucking minor mishaps of modern life, ends things on a surprisingly encouraging, optimistic note.
    • tbd Metascore
    • 78 Marc Savlov
    The portrait he (Hossain) paints, while visually arresting thanks to cinematographer Sabine Lancelin’s eye for Dhaka’s colorfully saturated and gritty milieu, is a grim one.
    • 80 Metascore
    • 78 Marc Savlov
    Fiennes assumes the character and recites shocking revelations that Amirami’s obsessive research has disclosed. It sounds like a cheap trick, but the actor pulls it off flawlessly.
    • 83 Metascore
    • 100 Marc Savlov
    Bloody Nose, Empty Pockets is as real as it gets, a snapshot stolen from the very year everything turned to sh-t. It’s a masterpiece.
    • 73 Metascore
    • 78 Marc Savlov
    Ultimately Hill of Freedom is surprisingly satisfying in its sheer — albeit abjectly disjointed – fish-out-of-water ordinariness.
    • 61 Metascore
    • 40 Marc Savlov
    Onward is neither terrible nor great; it simply is.
    • 29 Metascore
    • 30 Marc Savlov
    It doesn’t work, however, and the end result is one long yawn of mediocrity, devoid of any genuine suspense, hobbled by incoherent plotting, and ending on a note of goofy what-the-fuckery.
    • 62 Metascore
    • 67 Marc Savlov
    Meghie’s film is a paean to the push and pull between enchanting possibilities and chimerical probabilities. You don’t need to bring a handkerchief into the theater for fear of ocular leakage, but The Photograph’s modestly hopeful denouement is, truly, picture perfect.
    • 64 Metascore
    • 78 Marc Savlov
    Given the minimal – albeit excellent – cast and the film’s maximal rollercoaster of shifty mood swings and its increasingly paranoiac atmosphere of disorienting dread, it’s no wonder Come to Daddy lingers in the mind long after the final, emotionally revelatory denouement.
    • 52 Metascore
    • 67 Marc Savlov
    Television is reality, and reality is less than television. And that is, by the end of the 72-minute-long VHYes’ gleefully immersive, intermittently profound “found footage,” a lesson Ralph osmotically absorbs through the VHS viewfinder of his life.
    • 59 Metascore
    • 40 Marc Savlov
    Bad Boys for Life – while not as combustibly fun as the second installment – is fine, cheesy, Saturday afternoon mayhem, smoothly served with a heaping helping of “We’re all getting older.”
    • 54 Metascore
    • 40 Marc Savlov
    There’s nothing to fault animation-wise – Blue Sky’s penchant for migraine and/or dopamine-inducing color palettes and headlong pacing are consistently above par – but, for adults at least, the film’s mushy mediocrity can be a real drag.

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