Slate's Scores

  • Movies
  • TV
For 1,614 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Munich
Lowest review score: 0 Just Go with It
Score distribution:
1614 movie reviews
  1. Passable--just.
    • 17 Metascore
    • 50 Critic Score
    I'll say this for Human Centipede 2: Tom Six has done the impossible. He's created a sequel that's several orders of magnitude more vile, more nihilistic, and more repellant than the original. And he didn't even need to change the premise.
  2. Marathon of misery.
  3. The preview—if that's truly what it is—has a beginning, a middle, and an end; a host of good lines; and so many goofy surprises that it's hard to believe that there's anything more to see in the picture itself. I mean … they wouldn't show you the entire movie in the coming attraction, would they?
  4. It's too bad that halfway through, Collateral turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he's lousy at action.
  5. Anger Management is bearable up to its protracted climax, set in Yankee Stadium, which gets my vote for the most excruciating wind-up of any comedy, ever.
  6. A viewing of The Hottest State is likely to conclude with a crosstown sprint of a different kind: As soon as the credits start rolling, you can't wait to get out.
  7. Though Carano isn't without a certain glowering charisma, her flat line readings and apparent discomfort with dialogue-heavy exchanges make her seem like a refugee from a different, schlockier movie, the kind of low-budget, straight-to-video MMA rock-'em-sock-'em that might pop up on late-night basic cable and charm you with its rough-hewn amateurism and animal high spirits. As Haywire's long-seeming 92 minutes limped by, I found myself wishing I was watching that movie instead.
  8. Despite glimmers of wit and a hipper-than-thou cast, it's painstakingly smug, and smaller than the sum of its parts.
  9. Tomorrowland is a highly original, occasionally even visionary piece of sci-fi filmmaking, but that doesn't necessarily make it a good movie.
  10. Forget Alexander: The film is a pedestal to Angelina the great.
  11. What's meant (I think) to be a "f*** you" to action-movie conventions reads instead as a "f*** you" to the audience. Observe and Report tickets should come with a free breath mint, because however hard you've been laughing, that ending leaves a seriously bad taste in your mouth.
  12. In truth, only hard-core martial-arts fans will be able to keep from squirming in their seats with boredom through at least some parts of this 82-minute kablammo-fest.
  13. The chief casualties are the good actors, who are forced to turn themselves into cartoons.
  14. Ultimately The Switch can't escape the constraints of its own formula.
  15. The first half-hour or so of this caper comedy, which is based on an Elmore Leonard crime novel, goes down like a strawberry daiquiri with a little umbrella.
  16. It's coarse, primitive, regressive, often very stupid, and sometimes, against all odds, really a hoot.
    • 53 Metascore
    • 50 Critic Score
    If only the makers of Dawn Treader had learned the lesson Lucy does when she casts that forbidden spell: Don't try to be something you're not.
  17. It's such a disappointment that The Descendants isn't a better movie than it is. In this soap opera disguised as a comedy, Payne, who was always a master at balancing sharp satire with an essential humanism, has traded his tart lemon center for a squishy marshmallow one.
    • 45 Metascore
    • 50 Critic Score
    As a political statement, American Dreamz is overly didactic and liberal in a read-too-many-blogs sort of way.
  18. Superficially respectful but ultimately cruel.
  19. That City by the Sea isn't laughed off the screen is testament to Caton-Jones' attention to actors and to some tightly written scenes.
  20. I suppose it's too much to expect Pirandellian stature from the madness of Chuck Barris -- but that's about the only thing that would have made this mixed-up ego trip work.
  21. A few billion 1s and 0s in search of a movie.
  22. The movie's curious capacity for self-erasure makes it a tough one to write about; less than 24 hours later, I recall it with all the clarity of something I half-watched on a plane with a hangover in 1996.
  23. Turns out to be semi-enjoyable, semi-tacky retelling/updating of the old Elizabeth Bathory legend.
  24. It's just too bad the end result isn't a better movie.
  25. Shutter Island is an aesthetically and at times intellectually exciting puzzle, but it's never emotionally involving.
  26. Chloe remains engaging for longer than any movie this schlocky and overwritten has a right to be. But the movie loses what little goodwill it's managed to build up by the last act, which feels clumsily grafted from a completely different film.
  27. Jasmine attains the paradoxical state of being fascinatingly tiresome. The same pair of words might be used to describe Blue Jasmine, which, whether you like it or not, surely counts as one of Allen’s more unexpected films of the past decade

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