Slate's Scores

  • Movies
  • TV
For 1,620 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: 62
Highest review score: 100 Everybody Wants Some!!
Lowest review score: 0 Just Go with It
Score distribution:
1620 movie reviews
  1. There's no buildup, no narrative arc, just one scene of comically debauched partying after another.
    • 69 Metascore
    • 60 Critic Score
    The great flaw in most of the Coens' work is, surprisingly, an inability to sustain a plot over a two-hour span.
  2. That minute and a half of still photos packs in more dense, economical laughs than all the laborious gross-outs and chase sequences that came before. Maybe The Hangover Part III should consider restricting itself to the slide-show format.
    • 85 Metascore
    • 60 Critic Score
    These late scenes are over the top, as mean and reductive as editorials in a tabloid, and they nearly extinguish the moral subtlety of what's gone before.
  3. Fearless as these racers are, it's hard to muster enthusiasm for a movie that plays chicken and then swerves about a mile before the collision.
  4. It's a movie that's thought-provoking without being intelligent and candid without being truthful. The same aesthetic choices that Toback seems convinced will set his documentary apart are also what diminishes its credibility.
  5. I must admit that I find those motifs -- and the Farrellys' universe in general -- more sweet than offensive, and I liked Say It Isn't So just so. So there.
  6. Rambling and conflicted as it is, it's one of the most entertaining African-American comedies of manners ever made.
  7. Garry Shandling is poignant and hilarious as an alien stud.
  8. If you can watch all 17 seconds of the "surprised kitten" video on YouTube without even a twinge of longing to crush said kitten with love, skip Babies. If you find yourself clicking "replay" to watch the kitten again, pre-order your ticket now.
    • 76 Metascore
    • 60 Critic Score
    Audiences are likely to embrace Breaking the Waves as something rare and fierce and innovative, a passport into the depths of passion, but some people will reconsider when they get home.
  9. It's almost criminal the way the central relationship of High Fidelity has been left such a void.
    • 47 Metascore
    • 60 Critic Score
    For a filmmaker who in Videodrome and Dead Ringers so elegantly broached the unspeakable, Cronenberg has here made a picture that is all surface.
  10. The plot is too erratic and incoherent to follow, but the constant barrage of noises and colors is more than enough to keep kids entertained.
  11. 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.
  12. Even with her stinko lines, Weaver has never been as flabbergastingly gorgeous and charismatic. She's tall and lean and meteor-hard, and you can almost believe there's really acid in her blood, and that no alien in its right mind would mess with her.
    • 68 Metascore
    • 60 Critic Score
    I left the film moved to tears, and still feeling like something huge was missing.
  13. There's something too refined and emotionally neutral about Nowhere in Africa, as if Link had directed with white gloves. Maybe she knew how loaded this African-Jewish subject was and didn't want it push it too hard. Maybe that's why she won an Oscar.
  14. What a shock when George Lucas finds his footing and the saga once again takes hold.
  15. Carlos Cuarón's screenplay is rambling and unstructured but full of vibrant dialogue. As in "Y Tu Mamá También," the insults the two leads hurl at one another are creatively filthy.
  16. Where the book is sinuous and oblique, their film is galumphing and heavy-handed, its rare flights of lyricism stranded between long stretches of outright risibility. And yet there's something commendable about the directors' commitment to their grandiose act of folly.
  17. 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.
    • 66 Metascore
    • 60 Critic Score
    The movie raises your pulse, it has visual wow. But I suspect that audiences will emerge into the light feeling more battered than entertained.
  18. Occasionally dissonant, but it's remarkably cleareyed.
  19. This seesaw of shame and self-justification might not speak for the most murderous segment of the German populace, but it's a peculiarly eloquent representation of the silent, obedient majority.
  20. Though at times Rosewater is clearly the work of a first-timer still finding his voice, Stewart is indisputably a real filmmaker.
  21. I found the film -- excruciatingly flat-footed, with one of the most exasperating scores (by Philip Glass) ever written. The most fascinating thing in the movie is a nose.
  22. It's true that the movie, arrested between documentary and drama, doesn't quite do justice to either medium: The actors playing Joe and Simon don't have anything like "lines" to simulate "drama," or even just "conversation," while the real guys often fall back on bland English understatement.
  23. Elektra isn't half-bad--only maybe two-fifths.
  24. With his goofy interview technique and easy laugh, Spurlock has a way of putting his subjects at ease even as he tests the audience's patience.

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