Slate's Scores

  • Movies
  • TV
For 1,478 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% 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: 61
Highest review score: 100 The Kids Are All Right
Lowest review score: 0 The Amityville Horror
Score distribution:
1,478 movie reviews
  1. Went down like a slice of warm pecan pie topped with two scoops of Ben and Jerry's Bovinity Divinity.
  2. A hilarious, poignant, lovingly ironic celebration of (Tammy Faye Bakker's) rise and fall and her refusal to be broken.
  3. Beat by beat, scene by scene, gorgeous...at times emotionally devastating.
  4. The world didn't need a remake of The Thomas Crown Affair. We didn't need it, but we got it anyway -- and it's pretty terrific.
  5. Gorgeously silly.
  6. Not enough happens in it. And yet everything happens in it.
  7. The elements in A Walk on the Moon, which is directed by the actor Tony Goldwyn (the bad guy in "Ghost") and written by Pamela Gray, feel miraculously right.
  8. Shows the dying tremors of a generation, and you might feel as if you can see every molecule, every atom give up the ghost.
  9. One of the most enthralling three hours you'll ever spend at the theater.
  10. If I didn't believe that the experience of watching Domestic Violence would change the world for the better, I wouldn't believe in the power of movies. And I wouldn't do what I do.
  11. The most enthralling movie of the year.
  12. It's like an Ingmar Bergman film with the loss of religious faith replaced with a sort of socioeconomic nebulousness.
  13. Both a masterpiece and a holy hell: Watching it, you feel you're being punished for a crime you didn't commit. Which puts you, come to think of it, in the same frame of mind as those poor Magdalene girls.
  14. A disgusting piece of work; I still can't believe how much I loved it.
  15. A breezy hoot, and it's gorgeous to look at.
  16. Even when you're able to guess the next calamity, it's still a shock in its ejaculatory intensity. The Farrellys never throw in the towel. Pretentious Sundance independents could learn a lot from such pistols.
  17. One of the most inspired cases of the medium embodying the message ever captured on celluloid.
  18. Best in Show has an uproarious wild card in Fred Willard, who plays a hack commentator convinced that he's the most amusing fellow on television
  19. A big, overlong, and rather unwieldy piece of storytelling, but the story it has to tell is so vital that it cuts through all the dramaturgical muddiness. It's a terrific muckraking melodrama--it will get people fuming.
  20. During the ghastly, surreal climax, I had fun closing one eye and with the other watching various ashen older men stumble toward the exit.
  21. Poetry in motion: It's eggsquisite.
  22. Most love stories are bland and generalized. This one takes you deep inside the dance.
  23. Crowe's world is an open ecosystem --transcendentally open. This movie is his boombox held aloft.
  24. It's the way Cuarón demonstrates how a simple teen comedy can suddenly blossom into a study of sexual mores, a Mexican political allegory, a song of lamentation -- and still be breezy and funny and sexy as hell.
  25. The movie is riotously entertaining, and with a big heart, too.
  26. It's a rich, impressive comic-book fantasy -- easily the summer's best "blockbuster."
  27. A rollicking, comic-book Robin Hood plot and more furiously entertaining fight scenes than the ones in Ang Lee's solemn martial-arts art movie.
  28. It's irresistible, damn it. Mainstream comedies should all be this funny and tender and deftly performed.
    • 87 Metascore
    • 90 Critic Score
    The acting of this central trio is brilliant, in part because the crisscrossing of these and other stories and the gorgeous backdrops take some of the weight off: The characters are free to be flawed without losing our interest.
  29. I confess I don't fully understand Danny's (or the movie's) zigs and zags, but I was glued to the thing anyway -- it has an inexplicable inner logic -- and I admire Bean for refusing to settle into any easy groove.

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