Slate's Scores

  • Movies
  • TV
For 1,642 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 Creed
Lowest review score: 0 15 Minutes
Score distribution:
1642 movie reviews
  1. Even in the film's weaker stretches, the fierce presence of Tilda Swinton made it impossible to tear my eyes away.
  2. The movie isn’t perfect. I’m not even sure if it’s good. For one thing, it can feel reductively boilerplate in its treatment of it-girl Megan.
  3. The playful energy between McCarthy and her completely game co-star, Susan Sarandon is more than enough to keep the movie humming along.
  4. Super 8 is at its best when it dwells in this secret childhood empire, and at its worst when it juices up its essentially simple story with increasingly senseless action set pieces.
  5. While it’s a decent table-setter and a welcome return to a magical world that many of us love dearly, it’s no Force Awakens, bogged down as it is by exposition, dull characters, and sludgy pacing.
  6. By the time the great vampire showdown finally got started, I was good and done with Breaking Dawn, Part 2. But the big action scene is so campily over the top - with one twist so unforeseeable - that it sent me out on a burst of grudging goodwill.
  7. I also thrilled to identify with a male lead (Jon Favreau) who's as brilliant and crazy and self-absorbed as Woody Allen or Albert Brooks but whose self-absorption doesn't shape and color everything else in the movie.
  8. Exhausting, depressing, slightly nauseating, and unfortunately necessary.
  9. iIt's far less sickly than plenty of yuletide offerings, last year's "The Family Stone" being one shudder-worthy example.
  10. All of Eastwood's rigorous craftsmanship seems wasted on a movie whose message never rises above the bumper-sticker admonition that "mean people suck."
  11. Apart from Theron and Christina Ricci as her lover, there's nothing in Monster that rises above the level of doggedly well-meaning, although the film is worth seeing for the acting and as a sort of palate-teaser for Broomfield and Churchill's documentary.
    • 46 Metascore
    • 60 Critic Score
    Lyne has created, from a screenplay by Stephen Schiff, an earnest movie about a man who, by falling in love with his emotionally immature stepdaughter, ends up destroying himself.
  12. Grbavica is a surprisingly vibrant, at times even joyous, study of the way life goes on even after the most intolerable suffering.
  13. Panic Room is fluidly made, and it keeps the audience quiet and unpleasantly gripped. But the only surprise is the absence of surprise; that trap is in too-plain view.
  14. The glibness exhausts you, and the Coens are emotionally so far outside their subject that Intolerable Cruelty is finally no different from most of the other dumb slapstick spoofs that pass for screwball comedy these days.
    • 59 Metascore
    • 60 Critic Score
    Aggressively adolescent. It hearkens back to the time in a young man's life when humping monkeys were funny, when a promise didn't count if your fingers were crossed, when debating pointless hypothetical questions held a fascination, and when professional wrestling offered endless, senseless entertainment.
  15. The X-Files isn't so much a bad movie as it is a crackerjack piece of television. It's crisply made--not sodden like many of the "Star Trek" pictures. But it's as annoyingly open-ended as the rest of the series' episodes.
  16. Though I found Hereafter meandering and occasionally sentimental, I couldn't help but admire Clint Eastwood's ambition in taking on-headfirst-the greatest fact of human existence.
  17. Even as the story accrues preposterousness, the action moves along crisply, and Tatum and Foxx hit a nice buddy-movie vibe.
  18. A more down-to-earth actor would sentimentalize Breakfast on Pluto and make for an awkward fit with its peculiar mix of tones. Murphy's strangeness--his chill estrangement--makes his campy "Kitten" persona more poignant.
  19. Nevertheless, I’m So Excited (in Spanish, the title is Los amantes pasajeros, meaning both “the fleeting lovers” and “the passenger lovers”) looks fabulous, talks dirty, and sometimes makes you laugh, which is really all you can ask of a fleeting lover.
  20. I prefer the Farrellys when they're disreputable and push the boundaries of taste, because they're otherwise a tad sentimental.
  21. Even knowing what's likely to come-the doors opening on their own, the skeptical characters scoffing at metaphysical explanations, the unheeded warnings from paranormally gifted guests-doesn't make it any less nailbiting to watch.
  22. The more subversive Instinct gets in proclaiming free will an illusion fostered by a rigidly repressive society, the more captive it seems to a rigidly repressive studio marketing department.
  23. There is nothing wrong with the action sequences beyond their sheer length and number. They're in the "Road Warrior" mode: hyper-fast and vicious.
  24. I found myself curiously willing to overlook Admission’s weaknesses, or even to reinterpret them as strengths — couldn’t those inconclusive endings be seen as a refreshingly un-rom-com-like embrace of life’s open-endedness and complexity?
  25. It's a textbook example of a well-crafted movie, beautifully shot, impeccably acted, and structured like an elegant three-act play. So why does the movie feel as pleasantly deadening as the midcentury Connecticut suburb where it takes place?
  26. As a life lesson for teenage girls, Twilight (excuse the pun) sucks. As a parable for the dark side of female desire, it's weirdly powerful.
  27. As lurching, awkward, and dirty-minded as the three horny man-boys at its center--but not, in the end, quite as funny or endearing.
    • 84 Metascore
    • 60 Critic Score
    Both actresses deliver vivid, tender performances; they generate all the movie’s fire, but they’re obliged to do it inside a chilly, ritualized framework, the aesthetic equivalent of a softcore mausoleum.

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