Rachel Saltz
Select another critic »For 154 reviews, this critic has graded:
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27% higher than the average critic
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25% same as the average critic
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48% lower than the average critic
On average, this critic grades 10.7 points lower than other critics.
(0-100 point scale)
Rachel Saltz's Scores
- Movies
- TV
Average review score: | 54 | |
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Highest review score: | I Killed My Mother | |
Lowest review score: | Ultrasuede: In Search of Halston |
Score distribution:
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Positive: 42 out of 154
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Mixed: 94 out of 154
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Negative: 18 out of 154
154
movie
reviews
- By Date
- By Critic Score
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- Rachel Saltz
Tiwari is better at probing the emotions under the drama than building a nail-biting, rah-rah finish, though she tries.- The New York Times
- Posted Jan 26, 2020
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- Rachel Saltz
Dabangg 3 is earnest, and it earnestly wants to deliver thrills. To do so, though, it would have to provide that other essential Bollywood ingredient: emotion. What’s missing are the tears. The movie hardly leaves a trace.- The New York Times
- Posted Dec 23, 2019
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- Rachel Saltz
The movie is crisply, sometimes stylishly shot (Madhie did the cinematography), but it’s too muddled to be slick and too lacking in charm to establish any emotional stakes.- The New York Times
- Posted Sep 1, 2019
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- Rachel Saltz
Nureyev, directed by the brother-and-sister team of Jacqui Morris and David Morris, suffers from a common documentary-film problem: great story, not-so-great storytelling.- The New York Times
- Posted Jun 6, 2019
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- Rachel Saltz
This kind of fantasy-spectacle is Mr. Varman’s forte, not storytelling. When the singing and dancing and action stop, which is less often than you might think, so does “Kalank.”- The New York Times
- Posted Apr 19, 2019
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- Rachel Saltz
Super Deluxe, though, runs three hours, and Kumararaja loses his way in the draggy, overlong second act.- The New York Times
- Posted Mar 28, 2019
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- Rachel Saltz
The moral seems as tacked on as the villain. But it’s a sweet thought and not entirely out of keeping with a movie that for all its crassness, comic and commercial, is basically good-spirited.- The New York Times
- Posted Mar 20, 2019
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- Rachel Saltz
The makers of the Bollywood movie Ek Ladki Ko Dekha Toh Aisa Laga have a touching, if slightly demented, belief in the transformative power of art. How to combat ugly stereotypes and entrenched beliefs? Put on a show!- The New York Times
- Posted Feb 1, 2019
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- The New York Times
- Posted Jan 26, 2018
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- The New York Times
- Posted Jul 20, 2017
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- Rachel Saltz
If “Badrinath” ends up being less about female empowerment than about schooling gents on a cardinal rule, its pop comes from Ms. Bhatt.- The New York Times
- Posted Mar 13, 2017
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- Rachel Saltz
Avoiding flabby subplots, Mr. Dholakia keeps Raees taut and suspenseful, even at two and a half hours, though it probably has a song too many- The New York Times
- Posted Jan 26, 2017
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- Rachel Saltz
The movie, written and directed by Neeraj Pandey, is not hagiographic or overly obvious. Instead, it’s something of a quiet muddle, with too many squandered or dramatically blurry scenes.- The New York Times
- Posted Oct 4, 2016
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- Rachel Saltz
Mr. Roshan, an appealing dancer, works hard to twinkle his way into our affections and make Sarman something more than a cardboard hero. He can’t, but the effort is appreciated.- The New York Times
- Posted Aug 17, 2016
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- Rachel Saltz
Because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow.- The New York Times
- Posted May 2, 2016
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- Rachel Saltz
Based, sometimes loosely, sometimes carelessly, sometimes pointlessly, on “Great Expectations,” the Hindi movie Fitoor is at all times more Bollywood than Dickens.- The New York Times
- Posted Feb 11, 2016
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- Rachel Saltz
Ms. Kongara seems to know the clichés of fighter movies and is mostly unembarrassed to embrace them. That keeps the film humming along, as does Mr. Madhavan, who grows in stature along with Adi.- The New York Times
- Posted Jan 31, 2016
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- Rachel Saltz
There’s plenty of story here, but Bajirao Mastani has more visual pop than narrative traction.- The New York Times
- Posted Dec 17, 2015
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- Rachel Saltz
The director, Sooraj R. Barjatya, courts and embraces cliché at every turn, which is both the movie’s charm and its limitation.- The New York Times
- Posted Nov 16, 2015
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- Rachel Saltz
India’s Daughter is a portrait of a place and time. And for all of its horrors, the movie has a positive message, too: Out of tragedy — and this case is just one of many — can come galvanizing change.- The New York Times
- Posted Oct 22, 2015
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- Rachel Saltz
Mr. Khan is this movie’s best weapon. Playing a familiar character type, the world-weary detective, he gives a performance, full of small, sly details, that doesn’t seem familiar at all.- The New York Times
- Posted Oct 6, 2015
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- Rachel Saltz
With its light silent comedy, Mr. Wenders’s film presents movie history as a meeting of the inventive and the inevitable — a playful lark.- The New York Times
- Posted Sep 17, 2015
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- Rachel Saltz
Through it all, Mr. Taylor’s creative mysteries remain intact; a master of the casual and the vernacular (a good way to learn about movement, he says, is to watch football halftime shows), he nonetheless approaches the mystical.- The New York Times
- Posted Sep 10, 2015
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- Rachel Saltz
The hapless secret agent heroes of Kabir Khan’s revenge thriller Phantom, could have used some pointers before being sent into the field.- The New York Times
- Posted Aug 31, 2015
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- Rachel Saltz
Although Brothers is a remake of Gavin O’Connor’s 2011 “Warrior,” its plotting, timeouts for montages and a song or two — Kareena Kapoor appears as a spangly item girl, the sole female in a sea of leering chorus boys — are echt Hindi movie. Even more so is its emotional appeal.- The New York Times
- Posted Aug 17, 2015
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- Rachel Saltz
For much of its first half, Bombay Velvet hums with the kind of energy found in movies by the 1970s American directors....Mr. Kashyap is perhaps too faithful to his Bollywood imperatives, though. In the grand tradition, his film is overlong (149 minutes) and overplotted.- The New York Times
- Posted May 15, 2015
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- Rachel Saltz
This movie, as the title suggests, is set up to be Piku’s story: How will she make a life? But the filmmakers let Mr. Bachchan overwhelm the story. Ms. Padukone, an always likable performer, remains in his shadow, just as Piku remains in Bhashkor’s, liberated but without real agency.- The New York Times
- Posted May 7, 2015
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- Rachel Saltz
The twisty story has a kink or two too many, a problem of whodunit plotting rather than of Bollywood excess. And the war comes across here as a kind of heightened backdrop rather than real crisis. But these aren’t fatal deficiencies in a film more attuned to movie-made ideas of history and style than to history itself.- The New York Times
- Posted Apr 9, 2015
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- Rachel Saltz
If the movie gets a bit gooey at times that’s probably an occupational hazard when considering the sublime. And Ms. Honigmann’s restraint — there’s something classical in her style, too — keeps the film from floating away. When it threatens to, something piercing or traumatic brings it back to earth, where any account of art belongs.- The New York Times
- Posted Mar 1, 2015
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