Slate's Scores

  • Movies
  • TV
For 1,523 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Chicago
Lowest review score: 0 Just Go with It
Score distribution:
1,523 movie reviews
  1. True Crime gives you sleaze on toast--a heap of tabloid bathos, a dusting of high-mindedness, a dash of gallows humor. It's a bizarre concoction, but it's riveting.
  2. Gives off the same vapor of impending tragedy—of a fate neither just nor unjust but ineffably, wrenchingly right.
  3. With a woman-with THIS woman-all the invincible-spy clichés feel fresh and fun again.
  4. In dramatic terms, Osama couldn't be much simpler. The director is aiming for a sort of tone poem of repression, the girl robbed first of her childhood, then of her burgeoning womanhood.
    • 68 Metascore
    • 80 Critic Score
    Zobel and Modi have crafted a thoughtful narrative about the experience of navigating and attempting to accommodate others' personalities.
  5. It's particularly exciting to get to see an inventive underground work like This Is Not a Film in the wake of Iran's first-ever Oscar win for Asghar Farhadi's great film "A Separation." It's becoming clear that the blossoming of Iranian cinema, which has been going on now for at least 20 years, is too strong a force for the government censors to contain.
  6. In spite of its standard biopic gaps and simplifications, Walk the Line gets the big things right.
  7. Everything we love about biblical-movie kitsch is here, only concentrated and heightened.
  8. A minor-key ghost story with major jolts.
  9. The Guest isn’t here to deliver an earnest social message about the state of veterans’ affairs. Instead, the way good horror movies do, it channels our collective fear, guilt, and rage by creating a monster.
  10. Breezy, brief, and often a howl.
  11. Maggie’s agonizing zero-sum struggle to balance a life of military service and a steady relationship with her son feels fresh, raw, and real — even if the conflict it enacts is as old as the transition between The Iliad and The Odyssey, between the horrors of the battlefield and the difficult journey home.
  12. By focusing on the power of cannily staged collective action to turn the tide of public opinion, Selma achieves a contemporary relevance that few historical dramas can — especially those built around real-life figures as encrusted in layers of hagiography as MLK.
  13. Feels fresh and satisfying. Maybe it's the presence of Jason Statham, the British action star who has a physicality like no other actor out there right now.
  14. Living Out Loud becomes an ode to openness, to letting in everything that the world throws at you.
  15. Edel's clear-eyed and exhaustively researched account is unique in its refusal to either romanticize or villainize the terrorists. It's a study in the seductive appeal, and inevitable failure, of the attempt to bomb one's way to a better world.
  16. Belongs to that most promiscuous of genres -- the go-for-it sports melodrama -- but transcends it and then some.
  17. With an actor as great as Gene Hackman in the lead, a lot of scenes even breathe.
  18. As she's being put through her Oxford-prep paces, Jenny complains about "ticking off boxes," and at times, this film seems to be doing just that: coming-of-age drama, check. Youthful illusions shattered, check. But as with first love, so with the movies: The right girl makes it all worthwhile.
  19. A thriller that isn't kinky isn't much of a thriller. And Cellular has the best kinky phone gimmick since "Sorry, Wrong Number" (1948).
  20. The first real Jackie Chan picture crafted for the American market, is a terrific piece of junk filmmaking.
  21. A gleefully crummy buddy comedy that uses horror-movie conventions as catapults to hurl the audience down one "whoa, dude!" narrative wormhole after another.
  22. Tumbleweeds is gorgeously nuanced.
  23. No movie in the last decade has succeeded in psyching out critics and audiences as fully as the powerful, rambling war epic The Thin Red Line.
  24. The rocky but loving relationships Amy has with her father and sister are every bit as important to the story as the connection she shares with her (would-be) boyfriend, and all three parts of her life affect and change one another, just like in—imagine that!—real life.
  25. A dazzling, repellent exercise in which the case against men is closed before it's opened.
  26. I reckon 90 of the movie's 106 minutes are thriller heaven. The windup, alas, isn't in the same league: Both humdrum and confusingly staged, it pales beside the volcanic climaxes of Franklin's "One False Move" (1992) and "Devil in a Blue Dress."
  27. Though both highly stylized and highly stylish, Drive isn't hurting for substance. It has rich, complex characters and a storyline that's both emotionally engaging and almost sickeningly suspenseful.
  28. Even though the film is full of laughs, the jokes hover on the edge of the abyss: This is a world in which lurid colors and extravagant gestures are means of filling the void.
  29. These down moments are fleeting, drowned out by the joyous din of zombie slaying and a scattering of subtler touches, such as Woody Harrelson's shotgun-savant Tallahassee painting a "3" on the side of his various commandeered vehicles, presumably a tribute to NASCAR legend Dale Earnhardt.

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