Slate's Scores

  • Movies
  • TV
For 1,657 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Inside Out
Lowest review score: 0 Life Is Beautiful
Score distribution:
1657 movie reviews
  1. Through two viewings of Jackie, I was never able to pin down whether it was Portman’s performance or Larraín’s way of framing it that left me emotionally shut out.
  2. From an aesthetic and technical perspective, her achievement is laudable, but there’s something underfurnished about this movie, a lack of historical, intellectual, and thematic richness. For all its elaborate design and carefully calibrated mood, it comes down to the tale of a randy fox in an impeccably preserved Greek Revival henhouse.
  3. This is the kind of movie that often racks up more than a few walkouts but also makes for passionate postscreening conversations.
    • 60 Metascore
    • 60 Critic Score
    If Spectre has any saving grace, it’s Craig, who remains the best non-Connery Bond. It is not merely his physical presence, which is formidable enough; he has a unique ability to make peevishness dramatically compelling. And the subtlety of his sense of humor is one of the better aspects of his 007.
  4. The Slums of Beverly Hills never gels, but it has a likable spirit, and it's exceedingly easy on the eye, with lots of pretty girls and wry evocations of '70s fashions and decor.
  5. So slight it's almost diaphanous--an hour after seeing it, what the movie leaves behind is not so much a memory as a mood. Still, it's a fine mood.
  6. Though the result is thematically slight, it's structurally sophisticated enough to reward a second viewing (or at least, unlike Grey's previous work, to be watched all the way through).
  7. To work onscreen, Thank You for Smoking needed to be fast, scruffy, and offhand. But even the good lines here last a self-congratulatory beat too long. Aaron Eckhart is likable, but he's too hangdog and naturalistic for a part that could have used a brisk young Jack Lemmon type.
  8. Kill Bill is about nothing more (or less) than its director's passion for the mindless action pictures that got him through adolescence. It isn't sex without love: It's an orgy with just enough love.
    • 64 Metascore
    • 60 Critic Score
    The dogs learn to fight for themselves and eventually tangle with a (computer-generated) leopard seal in the movie's most thrilling encounter.
    • 81 Metascore
    • 60 Critic Score
    Watching it, I was excited that such a strange piece of science fiction got made—and disappointed to realize that it is strange in just about all the ways that Interstellar is. But while even Nolan’s detractors couldn’t deny his skill at manufacturing awe, the primary emotion that Arrival evokes is puzzlement.
  9. A big part of the reason for this movie's nose dive around the one-hour mark is that, seen up close, the Infected just aren't that scary.
  10. A thriller of serpentine excitement all the way up to that dud of a climax.
  11. Full Throttle is full-throttle camp: It's like a third-rate Austin Powers picture cut to the whacking, attention-deficit-disorder tempo of "Moulin Rouge."
  12. A too-pat but very funny comedy.
  13. The film is seamlessly made, its mood balanced dreamily between sexy-funny and sexy-scary.
  14. Once you accept the utter and profound inconsequentiality of Rock of Ages, there's much to enjoy in it, from Zeta-Jones' capable hoofing (as a dramatic actress I find her deadeningly dull, but the woman can dance) to Giamatti's sly performance as a calculating, gray-ponytailed rock impresario.
  15. The first truly countercultural apocalypse fantasy.
  16. The movie's more than cute, funny, and (at 81 minutes) brisk enough to move families in and out of the multiplex in mass quantities, like the social insects we are.
  17. Mostly, the jokes and the recurrent attempts to tweak the superhero genre serve as a reminder that somebody else has already done it better. Sure, Megamind is pretty good. But why settle for less when you the best is already available on DVD?
  18. Pure misery.
  19. It's miscast, underwritten, muddily shot, and slackly paced, but there's something captivating about its unabashed shittiness.
  20. Its fancifulness is at times too clunky, its pathos too strained. But Barnz has a secret weapon, one that's 4 feet tall and looks to weigh about 60 pounds: Elle Fanning.
  21. Fascinating for the issues--ethical, aesthetic, psychoanalytic--it raises. But it doesn't fully come together.
  22. I was onboard with the gentle charm of Safety Not Guaranteed until these last few scenes, when the genuine trauma suffered by these characters - especially Kenneth, whose paranoia and isolationism seem like symptoms of real mental illness - gets glossed over in an unconvincingly Spielbergian happy ending.
    • 77 Metascore
    • 60 Critic Score
    For a movie about the policing of borders, couldn't this one have policed a firmer one, between credibility and incredibility? Between seriousness and self-seriousness?
  23. The movie is sweet but deeply suspect: It's like "Lost Horizon" re-imagined by a realtor.
  24. This kind of movie is superfluous yet strangely compelling. We don't need to see Daniel Day-Lewis and Nicole Kidman sing a duet next to a Roman fountain any more than we need to see an elephant pirouette in a tutu, but wouldn't you be crazy to pass up the opportunity to see either?
    • 67 Metascore
    • 60 Critic Score
    Although Dolan has called it by far his most accessible film, Tom at the Farm is hardly paint-by-numbers.
  25. A simple, chronological history, narrated with melancholy gravitas by Morgan Freeman.

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