Slate's Scores

  • Movies
  • TV
For 1,486 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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Force Majeure
Lowest review score: 0 Freddy Got Fingered
Score distribution:
1,486 movie reviews
    • 60 Metascore
    • 90 Critic Score
    It may be the most visually imaginative Shakespeare film since Akira Kurosawa's "Ran", and certainly one of the more operatic Hollywood creations of recent years.
  1. Shows the dying tremors of a generation, and you might feel as if you can see every molecule, every atom give up the ghost.
  2. A marvelously nasty revenge comedy.
  3. You don't need to be an exploitation fanboy to appreciate the energy, imagination, and spirit with which Rodriguez and Tarantino pay homage to the cheapo cinema they love.
  4. Soderbergh contrives the perfect voice for Leonard's prose--laid-back and grooving when it needs to be, but also taut, with the eerie foreboding of violence about to erupt.
  5. One of the most inspired cases of the medium embodying the message ever captured on celluloid.
  6. As the ghouls evolve toward humanity and the humans toward ghouldom, we can appreciate Romero for using horror to show us How We Live Now, and How We're Living Dead now, too.
  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. Face/Off is such a blast that at times I forgot I was watching a John Woo movie.
  9. 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.
  10. Rich, finely judged, gorgeously acted movie.
  11. If you go see Tropic Thunder this weekend, don't be late. The four fake ads that open the movie are perhaps the apex of its considerable comic invention.
  12. If nothing else, it's an eye-boggling two hours at the movies and a must for Swinton completists fascinated by her recent turn toward operatic roles in odd, unmarketable films like this one and last year's Julia. She's becoming the Maria Callas of international cinema.
  13. For all its wizardry, The Incredibles isn't among my favorite animated movies. Weirdly enough, I think of it, instead, as one of my favorite live-action superhero pictures.
  14. A marvelous feat of re-imagination.
  15. It's a remarkable film--one to gnaw at you and keep you up at night.
  16. Audiard's take is fevered, immediate, and hopeful--a story of a man recovering his soul. The most intense and compelling sections of The Beat are almost word for word from "Fingers" (albeit translated into French), but this beat changes everything.
  17. 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.
  18. An entertaining, emotional, and surprisingly intimate movie--an epic saga of fauns and talking (Cockney) beavers and evil sorceresses and triumphal resurrections and massive, sweeping battles that nonetheless feels … small.
  19. Gorgeously silly.
  20. 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.
  21. Penélope Cruz, who's been so painful to watch in English-language roles over the past few years, reminds us that she really can act; she just can't act speaking phonetic dialogue. In her native language she's witty, wry, and elegant.
  22. 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.
  23. 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.
  24. Even if you couldn’t care less about jazz drumming, though, Whiplash is a thrill to watch. Underneath that taut, stylish surface, it’s really a movie about the perils of pedagogy, about the relationship between a passionate (perhaps too passionate) student and a demanding (perhaps too demanding) teacher. Which is to say, a movie about a uniquely powerful and potentially destructive form of love.
  25. 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.
  26. I’ve always admired this director’s commitment to both seriousness and laughter, to showing the beauty and significance of ordinary human life side by side with its petty, venal absurdity.
  27. I'll be forever grateful to this movie for introducing me to Nim's story, a tale so powerful and suggestive that it functions as a myth about the ever-mysterious relationship between human beings and animals.
  28. The movie pops up out of nowhere, grabs you in its big, messy tentacles, and drags you down into murky depths, where social satire coexists with slapstick, and B-movie clichés mutate into complex metaphors.
  29. What Steven Spielberg has accomplished in Saving Private Ryan is to make violence terrible again.

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