Slate's Scores

  • Movies
  • TV
For 1,524 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 0 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Bright Star
Lowest review score: 0 Freddy Got Fingered
Score distribution:
1,524 movie reviews
    • 76 Metascore
    • 80 Critic Score
    Like "Anvil!," Sacha Gervasi's 2008 documentary about two lovable, bickering metalheads, Beats, Rhymes & Life is a music documentary with a buddy-movie heart.
  1. Impressive and heartfelt.
  2. Spielberg has an effortless-seeming knack for creating compositions that are not just lovely to look at but integral to the idea or emotion he’s trying to express.
  3. Something between a love story and a religious morality tale. The hauntingly ambiguous last scene, in which Lorna finds a place of temporary respite from the economic forces that have determined so much of her life, may be the saddest happy ending I've ever seen.
  4. Its visual splendor more than makes up for its intellectual poverty.
  5. It has been sexed up, opened out, and finished off with a disappointing bang-bang climax, but it's still good fun.
  6. The film has a kamikaze comic spirit that's spectacularly disarming.
  7. The whole movie is like that: gleaming, but with a whiff of the charnel house. Dirty Pretty Things doesn't quite cut to the bone, but it gets as far as a couple of vital organs.
  8. I could quibble with the conventionally romantic ending and a couple of small but not-so-cosmetic alterations, but on the whole, this is just how I'd always imagined one of my favorite comic novels should look and sound.
  9. Admirable and wondrously strange--as well as gorgeous, funny, dreamlike, mesmerizing, squirmy, and occasionally annoying.
  10. The Farrellys have set themselves the awesome task of arguing passionately for the non-importance of appearance while at the same time making relentless sport of it. The happy news is that they pull it off: In Shallow Hal, they've contrived a deeply humanist gross-out comedy.
  11. To undertake a thriller of this length and scope with no prospect of a morally satisfying resolution, Fincher must have been a little nuts himself. We'll see whether audiences used to the tidy one-hour cases on "CSI" and "Law & Order" will follow him down Zodiac's murky, twisted, and ultimately dead-end street. It may not sound like it from that description, but it's a hell of a ride.
  12. The film is marvelous fun on its own terms -- I laughed all the way through it.
  13. Happy People's images of the Taiga, while often breathtaking, come from the standard visual language of nature documentary: in between interviews with villagers, cutaways to icicles hanging from branches or dawn breaking over an expanse of snow. It's Herzog's inventive use of voice-over that elevates the film above an extremely well-researched episode of "Nature."
  14. Obviously, this sort of taboo-flouting imagery isn't for everyone, but Park's vision is all of a piece.
  15. At its best, the movie evokes that blend of thrill and terror that comes from mixing two chemicals together without being sure that an instant later you'll still be standing there in one piece.
  16. The ultimate praise given to sports movies is always, "Even if you don't care about sport X, you'll care about these characters," and that's certainly true of Undefeated (I don't, and I did).
  17. Despite the movie's many flaws, the two leads' genuine rapport is enough to give the audience a solid contact high.
  18. A truly unformulaic comedy of lust and greed, a farce that seems to write itself, slap-happily, as it goes along.
  19. This is not to say that Gravity is a masterpiece: Unlike Cuarón’s extraordinary "Children of Men", it doesn’t quite pull off its ambitious effort to combine formal inventiveness, heart-pounding action, and intimate human storytelling. But it succeeds thrillingly at the first two of those categories, and only misses the mark on the last because it tries a little too hard — which is certainly a welcome respite from the countless sci-fi thrillers that privilege the human story not at all.
  20. It's both fractured and fluid, with a helter-skelter syntax and a ceaselessly infectious backbeat. Beyond that, it's a blast.
  21. The majority of Fury Road’s effects were done without using CGI, but even so, the onslaught of action is so fast-paced and overpowering there’s little time to appreciate Miller’s analog artistry, and the feeling of being inside a video game—a sinking sensation familiar from less carefully orchestrated action movies—sometimes takes over.
  22. The movie has an intriguing wild card in Bess Armstrong as an ex-prostitute turned Zen masseuse. I'm not sure if she's meant to be brilliantly evolved or an idiot -- or if the actress is really good or really, really terrible. But her chemistry with Forster is terrific.
  23. Burton's overall restraint is a welcome surprise. Shorn of his usual camp trappings, the director evokes a sadness beneath every uneasy smile he draws from the audience.
  24. Days of Future Past is the kind of extravagant production that sweeps you up in a sense of mythic grandeur even as you struggle to follow what’s going on.
  25. It's the feel-good movie of the year.
  26. The animating humanism of Scott’s film is irreducible. It’s a wry tribute to the qualities that got our species into space in the first place: our resourcefulness, our curiosity and our outsized, ridiculous, beautiful brains.
  27. Written and directed by Wisit Sasanatieng, a commercial director making his first feature film, Tears of the Black Tiger is a technical and aesthetic marvel.
  28. The movie is a generic paranoid espionage fantasy, but its proportions are refreshingly correct. It moves quickly, adroitly, and without fuss.
  29. Gojira is no masterpiece, but it has the power of a masterpiece: It's the most emotionally authentic fake monster movie ever made.

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