Slate's Scores

  • Movies
  • TV
For 1,640 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Persepolis
Lowest review score: 0 Freddy Got Fingered
Score distribution:
1640 movie reviews
  1. The action is never topsy-turvy enough for 13 Hours to be mistaken for a Paul Greengrass film, but it’s also not so operatic that it feels like Bay is turning a tragedy into Bad Boys III.
  2. The movie is a collision between inspiration and tastelessness, between the defiantly quirky and the wholesomely homogenized. I hated it in principle--I hate most modern Disney cartoons--but adored a good deal of it in practice.
  3. So why did I feel such affection for this scruffy, hokey little movie? Maybe it's the same logic that applies to wine-drinking itself: Sure, a great claret would be ideal, but an OK rosé is better than washing down your dinner with water.
  4. The heat [Chow] conjures between his leads never rises above a low boil. That’s because Chow never bothers to pretend as if the romance really matters —it’s merely an excuse for a parade of blisteringly clever comic set pieces.
  5. Apatow answers to no one. His worst enemy as a director is his unwillingness to linger in the dark places from which his comedy springs.
  6. It's totally implausible, and yet it gets at something unnervingly real: the way that people can blow a budding relationship by being too honest with each other.
  7. All its themes are laid out like index cards on a screenwriter's bulletin board, and each plot turn seems so inevitable that you'll think you saw this movie in a previous life. (You did.)
  8. Wanderlust is about two or three script passes away from being a consistently funny, dramatically coherent romantic comedy.
  9. A most curious movie, one with nearly all the elements of a classic crime-family saga and yet somehow lacking the moral complexity and emotional heft of the films to which it pays fastidious aesthetic homage: the New York–set urban thrillers of Sidney Lumet (Serpico, Prince of the City) and Coppola’s Godfather series.
  10. As tough as Lawrence is to like, Smart People is even harder to hate, mainly because of the sharply observed script by novelist Mark Jude Poirier. Just when you're losing patience with the movie, it sneaks up on you with a poignant detail or a character-defining turn of phrase.
  11. Frustratingly anemic, the filmmakers hiding behind their good taste and sensitivity. They might as well have gone for broke, since Plath and Hughes' daughter accused them of monstrous exploitation anyway.
  12. Apart from a few choice flashbacks, the action is crawlingly linear--and opaque.
  13. The screenplay doesn't lack for memorable zingers, and thanks to Cody's script and Streep's performance, Ricki emerges as a complex, self-contradictory person (even if most of the supporting characters don't).
  14. Though the subject matter sounds depressing, Crazy Love has an infectious, even bouncy tone.
  15. Too long, too sexist, and too--shall we say--flaccid. But it has its moments.
  16. It’s offbeat and refreshing nonetheless.
  17. Especially when Baymax is onscreen doing his adorable-puffy-robot thing, Big Hero 6 qualifies as a better-than-average kids’ movie with enough cross-generational appeal to make it a fine choice for a family weekend matinee. But I couldn’t shake the feeling that this film was designed to function as a starter kit for future Marvel aficionados.
    • 47 Metascore
    • 60 Critic Score
    The enthralling dance numbers-flashy spectacles with feathers and bras made out of pearls and netting-and the combined sass levels of Cher and Christina Aguilera gloss over the movie's weaknesses.
  18. Scene by scene, 50/50 can be both amusing and moving, with the tightly wound Gordon-Levitt and the boundaryless Rogen forming an oddly complementary pair. But as a whole the movie never quite coheres, seeming to skitter away at the last minute from both full-body laughter and full-body sobs.
  19. I half-admire its exquisite balancing act, squeezing laughs out of its leading lady's wardrobe, vocabulary, gestures, and cretinously oblivious Beverly Hills sense of entitlement, while simultaneously demonstrating her brilliance, sturdy ethics, and unflappable egalitarianism.
  20. With its featherweight premise, casually amoral heroes, and exotic locales, it conjures up an era (the '60s and '70s) when twisty, romantic heist pictures were routinely ground out as tax shelters.
  21. Despite a first reel entirely devoted to establishing characters, Cloverfield is basically a line-'em-up, pick-'em-off horror movie that's effective without being either viscerally frightening or emotionally moving. Watching it is like going through a car wash: You come out of it thoroughly Cloverfield-ized, but essentially unchanged.
  22. Unfortunately, Simien’s many smart, relevant thoughts on race are more often wrapped up in an impassioned, didactic bow that rarely feels fresh—or, more damagingly, funny.
    • 39 Metascore
    • 60 Critic Score
    I found Dead Men Tell No Tales to be passably fun and certainly no harder to watch than any of the better-pedigreed blockbusters this year.
  23. Mining the incest prohibition for laughs in what's essentially a light romantic comedy is a bold move, and for the first two-thirds of the movie, it works surprisingly well. But as long as the Duplasses are willing to go there, I can't help but wish they'd gone a little further.
  24. I wish it were as much fun as its prospectus. The truth is that The Truth About Charlie gets increasingly tiresome.
  25. Rambo combines an unapologetic return to the grand action-movie tradition of blowing shit up (one explosion is so big, it leaves behind its own miniature mushroom cloud) with a "Saw"-era interest in close-ups of human viscera.
  26. Aeon Flux is not that terrible. It's certainly more fun than a lot of films that get lovingly showcased.
  27. 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.
  28. If Boiler Room isn't an especially challenging movie, it's still a damn good melodrama -- a boilermaker.

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