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 Force Majeure
Lowest review score: 0 Domino
Score distribution:
1699 movie reviews
    • 68 Metascore
    • 60 Critic Score
    I left the film moved to tears, and still feeling like something huge was missing.
  1. At 93 minutes, Chronic felt unbearable to sit through, at once intimate and difficult, boring and acute. Its tone aspires to the numbness of a limb pinned for too long under a heavy weight.
  2. Magnificent Seven has one and only true goal: It’s a new Hollywood crack at good, old-timey entertainment.
  3. Still, the movie’s mores can feel cluelessly retro as the ever-dithering Bridget lurches between one man and another.
  4. Sully can feel like a dutiful, hagiographic slog, even though its actual running time barely tops 90 minutes and both Hanks and Eckhart give warm, understated, funny performances in the only two roles developed enough to qualify as real characters.
  5. Cianfrance’s gift for allowing his actors to create relationships — with one another, with the camera, and with the stark landscape that surrounds them — makes The Light Between Oceans an unusually captivating romantic drama, at least until that last-act slide into self-sabotaging bathos.
  6. Sumpter nails the first lady’s air of warm but reserved composure and the slow, careful way she enunciates her words, as if putting an extra measure of thought into choosing each phrase.
  7. I wish there were more films every year like Morris From America, the kind that surprise you by revealing a hidden side of something—an actor, a genre, a situation—you thought you had figured out.
  8. Pete's Dragon is a gentle, understated family adventure, one that feels notably unlike the simplistically sentimental product the Disney imprimatur might lead you to expect.
  9. Streep, who has long enjoyed playing women endowed with more than the average supply of gusto, makes the character’s delusional faith in her own talent so infectious that we ache at the thought of Florence’s impending humiliation even as we prepare ourselves to laugh at it.
    • 40 Metascore
    • 30 Critic Score
    Suicide Squad’s only triumph may be that it manages to make Batman v Superman look better by comparison. Bloated and baffling as that film was, it at least had a coherent aesthetic—a morose aesthetic, to be sure, but an aesthetic all the same. Suicide Squad, by contrast, is little more than a drab patchwork, its stitching the only thing uglier than the cloth.
  10. The dad minds behind Bad Moms don’t seem to understand, or be terribly curious about, the minds of mothers.
  11. Star Trek Beyond may not go where no Trek has gone before, but it’s that very fidelity to the show’s original values that will keep fans trekking to the box office.
  12. The real reason to see it — as was the case with the original, and with the past two Feig/McCarthy collaborations, "Bridesmaids" and "Spy" —has to do with the universally excellent cast who establish an easy tone of camaraderie and loopy banter.
  13. In short, The BFG seems perfectly self-sufficient in its bookness, in no need of the lavishly cinematic bear hug Steven Spielberg bestows upon it here.
  14. The disaster sequences themselves — of which there are many, placed at regular intervals but disconnected from the story, like operatic arias — have a dreamlike and weirdly exhilarating quality that’s quite different from the plodding wham-bam destruction of the average action blockbuster.
    • 64 Metascore
    • 90 Critic Score
    Hilarious, deranged, and always alive with possibility.
  15. What it lacks in originality and narrative momentum — even more than Nemo, Finding Dory is in essence a loosely connected series of comic-suspenseful chases, bookended by heart-tugging moments of family separation and reunion — this new movie makes up for in psychological acuity and sensitivity.
    • 68 Metascore
    • 80 Critic Score
    It doesn’t matter that the plot is predictable, because it’s merely a means for getting from one precise (and hilarious) musical parody to the next.
    • 65 Metascore
    • 70 Critic Score
    Though Hiddleston’s performance is evocative and compelling, he rarely betrays any emotion beyond a kind of stoned curiosity.
    • 75 Metascore
    • 90 Critic Score
    The conflict between Iron Man and Captain America drives a wedge through this community of heroes. And they fight, in one of the most joyous cinematic superhero battles ever filmed, the closest thing we’ve seen to an on-screen splash page.
    • 79 Metascore
    • 90 Critic Score
    Green Room proves to be an exquisitely crafted love letter to John Carpenter, and the rare horror ensemble that gives as much care to the villains as to the victims.
    • 64 Metascore
    • 40 Critic Score
    Born to Be Blue, a less ballyhooed film starring Ethan Hawke as Chet Baker, isn’t as awful as "Miles Ahead" but it’s not as interesting either — mainly because Baker’s story is kind of boring.
    • 64 Metascore
    • 30 Critic Score
    The remarkable feat of churning out a whole new set of clichés and setting a new level of degradation. That’s Miles Ahead, Don Cheadle’s biopic about Miles Davis.
  16. Like Clueless or Breakfast at Tiffany’s, it’s a great American comedy, and like Boyhood and Dazed and Confused, another easygoing masterpiece from our reigning auteur of hidden depths.
  17. Here is a movie that encourages you to give it the benefit of the doubt at every possible turn but has no interest in offering anything in return. If you liked the original, you’ll like this one less. If you loathed the original, may God be with you. Opa!
  18. To put it delicately, this comics fan hated Batman v Superman with the fury of a thousand red-dwarf suns. Blunt, humorless, and baffling, it collides the brutish directorial stamp of its director (he of 300 and Watchmen fame) with the most shameless instincts of our latter-day superhero franchise bubble.
  19. Midnight Special eventually sputters to a conclusion that confuses vagueness for ambiguity. The most compelling questions it leaves behind don’t have to do with its plot but with its creator: How much time should a young director have to make good on his potential?
  20. Captivatingly confident, unsparingly wry, and agreeably cynical about how the black mirror of technology can reveal our worst qualities by reflecting our best selves, Creative Control is the rare blast of speculative fiction that has the temerity not to limit itself to rhetorical questions.
  21. Malick has moved from self-discovery to self-affirmation; he knows exactly what he’s looking for, and Knight of Cups, for all its splendor, made me wish that he could take a swig and forget.

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