Slate's Scores

  • Movies
  • TV
For 1,699 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Dunkirk
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1699 movie reviews
  1. I realize I am allowing this film to slide under a very low bar. As the better Marvel films have shown, you need a lot more than zippy repartee to make a superhero film feel heartfelt and thematically resonant. And this one, despite its Whedon-y patches, is mostly a senses-assaulting mess, an offense to good taste as well as basic narrative cohesion.
  2. Branagh is more preoccupied with the challenges of keeping a movie set in a series of steel tubes visually interesting than he is in engaging its story.
  3. Though Mildred makes many choices that are reprehensible or downright dangerous, McDormand never fails to convince us of the fundamental decency of this woman, a tragic heroine struggling to find even the tiniest scrap of meaning in a comically awful world.
    • 68 Metascore
    • 70 Critic Score
    The movie gets right so many of the little nuances about combat and Army life.
  4. It’s not clear how autobiographical Lady Bird is — Gerwig is from Sacramento and graduated from high school around the time the film is set — but the little slice of universe she shows us feels deeply and lovingly observed.
  5. Thor: Ragnarok is a much goofier film than its 2011 and 2013 predecessors, and also a better one.
  6. Wonderstruck strikes a curious emotional tone, alternating between suspense and quiet wistfulness, with sudden surges of operatic intensity as the two timelines begin to connect. Still, all the moods hang together like the movements of a piece of classical music expressing different tempos: allegro, adagio, andante.
  7. The whole movie starts to feel like a dare or elaborate game, the characters shuffling obediently about the board with no rules to guide them. Myths grow out of a need to understand the world, and to pass on an understanding of how to make our way through it, but Lanthimos just teaches you to be more cautious about his next film.
    • 84 Metascore
    • 100 Critic Score
    Because of its deliberate slow-building structure, BPM sneaks up on you, inundating with detail and method until it all piles up and topples you over. Yet even in despair, the movie is emotionally transformative.
  8. It’s easy to make The Meyerowitz Stories sound tortured, and less so to convey the immense but not blinding affection with which Baumbach treats his characters.
  9. The film’s structure at first seems loose and episodic, but each scene serves a purpose.
  10. This new Blade Runner dazzles the audience with plenty of staggering sights but never quite matches the original’s mysterious ability to suggest something even more incredible lying just beyond our ken.
  11. This movie’s strength lies in its gentleness just as its wisdom lies in its willingness to get extravagantly silly. Richard Linklater is one of the best directors going, and Last Flag Flying shows his talents in the full flower of their maturity.
  12. Barry is the closest thing Tom Cruise has played to a regular Joe in more than a decade, and the part isn’t a snug fit.
  13. Vaughn hasn’t only run out of things to say but people to hate, and without that underlying aggression, the movie feels like it’s just going through the motions. Better luck next time, bruv.
  14. Battle of the Sexes breaks little new ground as either a sports film or a lesbian romance, but it’s lively, funny, and, if you’re unlucky enough to be a feminist in 2017, vicariously wish-fulfilling.
  15. This is the kind of movie that often racks up more than a few walkouts but also makes for passionate postscreening conversations.
  16. It
    Nearly every scene builds to some kind of climactic jump scare.
  17. Rumble: The Indians Who Rocked the World, directed by Catherine Bainbridge and Alfonso Maiorana, tackles a long, illustrious, and sorely undertold story, and as such offers some much-needed shading to a history that’s still too often framed in stark polarities of black and white.
  18. Though Logan Lucky’s funny and committed cast (also including Dwight Yoakam, an underused Katherine Waterston, and a barely there Hilary Swank) provides a steady supply of good-sized laughs, this film struck me as underachieving on several fronts.
  19. Having already admired Pattinson’s post-vampire work in David Cronenberg’s "Cosmopolis" and elsewhere, I wasn’t surprised to see him kill it in this role as a shambling antihero in the "Dog Day Afternoon" mode. With this movie, both Pattinson and the Safdie brothers have broken new ground in their careers.
  20. Though not a direct adaptation of "The Talented Mr. Ripley," the movie plays like a 2017 version of the psychological thriller, and not since "Clueless" took on Emma has a film so cleverly updated a pre-existing plot for the mores of the present day.
  21. The particular kind of “fun” to be found in a slick and shallow spy fantasy like Atomic Blonde feels peculiarly arid in a moment as desperate for substance and meaning as our own.
  22. A uniformly excellent cast and some genuinely moving moments make Landline easy to fall for.
  23. Valerian and the City of a Thousand Planets is a luxurious, appealingly daffy spectacle, a true vision unchecked by the standards of good taste, and that in and of itself is a quality worth savoring. But its design is pixel-deep, without the underlying thought that makes great science fiction worth revisiting.
  24. Girls Trip more than delivers what its audience is looking for.
  25. The swift-moving, pulse-pounding Dunkirk reveals its filmmaker at his most nimble, supple, and simple.
  26. War for the Planet of the Apes is a formidable achievement: not just the rare last chapter in a trilogy that maintains the high quality of the first two, but a visually lush, heart-pounding summer action movie that dares to ask hard questions about the struggle between good and evil—both on the larger social scale and within each individual—and the fate of life on Earth.
  27. In its brief sojourn on the screen, A Ghost Story moves through centuries of geologic time and into the deepest recesses of the human heart.
  28. At its headiest, it’s like Singin’ in the Rain with a souped-up engine, but even if Baby is the Gene Kelly of the getaway car, watching Baby Driver always feels like watching someone else do the driving rather than being behind the wheel yourself.

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