Slate's Scores

  • Movies
  • TV
For 1,481 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 I'm the One That I Want
Lowest review score: 0 Just Go with It
Score distribution:
1,481 movie reviews
  1. Riveting and so suggestive that you can't consume it passively: You have to brood on it.
  2. Rich, finely judged, gorgeously acted movie.
  3. Caine makes Hampton's too-literary narration work by playing it as an inner dialogue: It's the best performance of narration I've ever heard. It makes you want to hear Caine read the whole book--or read anything.
  4. Anderson must have needed that bonkers third-hour climax because there was nowhere to go short of spontaneous combustion.
  5. The revered Finnish director Aki Kaurismäki has hit on a way to give you grim social realism and movie-ish sentimentality in one fell swoop.
  6. What Steven Spielberg has accomplished in Saving Private Ryan is to make violence terrible again.
  7. This isn't just the most riotously inventive movie of the year, it's the raunch anthem of the age.
  8. The movie becomes a nail-biter, the audience hanging on every letter. Who could have anticipated that a spelling competition would yield such a heartbreaking thriller?
  9. My first viewing left me dazzled but slightly confused; a second deeply impressed; a third rhapsodic. I wish I hadn't needed to rediagram it in my head to turn it into the masterpiece it so obviously wants to be.
  10. I found it exquisite. In part I responded out of sheer amazement: I've never seen anything like the sequences in which Sandler, in his boxy, sea-blue suit, charges around his warehouse to the rhythm of Brion's harsh drums.
  11. This is finally the zombie flick as cautionary political tale, and as humanist parable. It's not the flesh-gouging zombie we have to worry about, the filmmakers suggest, but the soul-gouging zombie within.
  12. Mike Myers is like a rich 12-year-old who rents out F.A.O. Schwartz, upends every toy in under two hours, and brings in strippers. He can get away with this privileged romp because he grooves on what he does in a way that none of his contemporaries -- can comprehend.
  13. It's a magnificent achievement—holes, tatters, crudities, screw-ups, and all.
  14. Pitch-perfect -- not just the most enjoyable movie of the year but the first (after Crumb) to get the tone of a certain strain of "underground" comic right.
  15. Of all the great vocal characterizations...the showstopper is Brooks, who hasn't had a part this good since "Lost in America" (1985). His Marlin is tender, cranky, hysterical, yet somehow lucid.
  16. Almost to a one, the people Guest casts are virtuosos, and he lets them hit notes they can't hit anywhere else.
  17. This is the Bill Murray performance we've been waiting for: Saturday Night Live meets Chekhov.
  18. For all its slickness, School of Rock has a let's-put-on-a-show quality that touches you in the most direct way a movie can. It's as if the filmmakers had said, "I'd like to teach the world to kick butt--in perfect harmony."
  19. Ends very abruptly, at a point where you're ready to hang out with it a while. I wanted it to go on and on, but that ending is right. It leaves you the way American movies almost never do: relaxed, receptive, and happy in the moment, not even caring if your train comes in.
  20. Master and Commander hooks you from its nifty opening salvo to its nifty closing punch line.
  21. The miracle of the movie is the Bolger sisters, who are so direct and matter-of-fact that they hardly seem to be acting. But their simplicity is radiant.
  22. This is an absolutely miraculous movie.
  23. Gallo’s movie is terrific, an original and disarming vision of a life that's all skids.
  24. Guillermo del Toro is in a class with Peter Jackson as a fan-boy who gets it--a brilliant filmmaker who has a kind of metabolic connection to horror and sci-fi that helps him transform secondhand genre material into something deep and nourishing. Del Toro reaches into himself and finds the Wagnerian grandeur in schlock.
  25. Demme's movie exuberantly crosses the border from documentary into hagiography and from hagiography into celebration.
  26. I wasn't prepared for the slap-happy brilliance of Shrek 2, which should ideally be seen twice--once with kids, once savored at something like a midnight show.
  27. It's a remarkable film--one to gnaw at you and keep you up at night.
  28. It's the tone of the picture that's most striking. This is nothing less than a superhero's lament--Spidey Agonistes, a comic-book spectacle in which the primary struggles are behind the mask.
  29. It strides above its crudeness like a colossus. It's smart people telling dumb jokes with a brilliant sense of irony. Anchorman gives you permission to laugh like an idiot.
  30. The sequel is simply a tour-de-force of thriller filmmaking.

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