Slate's Scores

  • Movies
  • TV
For 1,524 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 The Dark Knight
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1,524 movie reviews
  1. It's rich, but slow, and children younger than eight (like mine) might get restless. But this big kid was lost in admiration.
  2. There is a long and honorable tradition of broad intermarriage comedies (from the Romans to Abie's Irish Rose to La Cage aux Folles), and this one comes at least shoulder-high to the best. It has been directed by Joel Zwick in a happy, bustling style and acted with madcap ethnic relish.
  3. Feels more like The Bill Clinton Story than "Primary Colors" (1998). It's a paean to naughty boys who dream of potency and become enraptured by their own scams -- a great American archetype.
  4. I pretty much loved this movie from start to finish - risible implausibilities, insufficiently explained premise and all. An admirably spare survival thriller, The Grey (nice title!) abounds in qualities that are rare in movies of its type. It's quiet, contemplative, and almost haiku-like in its simplicity.
  5. Fey's comic gifts mesh with Wiseman's first-hand research, and the wit becomes dazzling.
  6. A giddy ballet in which the women whirl around a still, clueless man.
  7. It's one of those zeitgeist-tapping romantic comedies that feels like a generational marker, a "Tootsie" or "The Graduate" for the 21st century.
  8. Represents a course-correction for Disney's multibillion-dollar princess franchise: It attempts to celebrate the virtues of hard work and pluck, even if the movie itself can feel at times like a lesson rather than an enchantment.
  9. The movie got me where I live, but I think that even non-Park Slope real-estate owners will have a blast at Duplex: It's one of the most unnerving slapstick extravaganzas I've ever seen.
  10. Though its story may sound formulaic on paper, please take my word for it: Monsieur Lazhar, written and directed by Philippe Falardeau, is a sharply intelligent, deeply sad, and not remotely sappy film about both teaching and collective grief.
  11. The world according to Mann is loud, dangerous, morally ambiguous, and more than a little greasy, but during the hours you spend there, there's nowhere you'd rather be.
  12. It finds a way to make the play's rich, dense literary language (just before the climactic battle, one character accuses another of "breaking his oath and resolution like/A twist of rotten silk") sound as terse and urgent as the dialogue in a tightly plotted action thriller.
  13. A sharp-witted, visually layered, gorgeously designed, meticulously directed piece of formula pablum.
  14. My chief complaint is that these mutants are a little--well, vanilla. I wish the X-Men had a touch of kinkiness to go with their weird abilities.
  15. Extract seems destined to do minor business at the box office but achieve a kind of immortality as a cult DVD, to be quoted from at parties and passed around to friends. Which may be just fine by its creator--as Beavis and Butt-head have taught us, snickering with your friends in front of the television can is one of life's great joys.
  16. The neat thing about Jonathan Parker's modern-day Bartleby (Outsider Pictures) is that it brings out all the vaudeville undercurrents in Melville's dark tale and turns it into a surreal tragi-sitcom for our own era.
  17. Mopey, draggy, and absurdly self-important, the movie nonetheless twangs at some resonant affective chord. This viewer, at least, was catapulted back to that moment of adolescence when being mopey, draggy, and absurdly self-important felt like a passionate act of liberation.
  18. Whatever this universe is, you're inside it, with your mouth open, wishing that all sporting events could be this exhilarating, that all human bodies could work this way, that all simpleminded movies could be this mindfully empty-headed.
  19. The revelation of Hateship Loveship is the casting of Kristen Wiig, who effortlessly makes the shift from comedian to straight dramatic actress in a role full of potential ego traps that she never falls into.
  20. It's fun to see actors doing what they do and to see them through the eyes of a director.
  21. It's an elegant, civilized, and deeply liberal piece of craftsmanship, with the sort of social conscience you rarely encounter in a modern American thriller.
  22. Man on Wire brings back a time when the towers were still symbols of aspiration and possibility.
  23. Blue Ruin is a Clint Eastwood vigilante fantasy with an anti-Clint at its center—small-statured, round-faced, nervous Dwight (Macon Blair), whose burning desire to avenge the long-ago murder of his parents doesn’t make him one whit less terrified of actually doing it.
  24. This is a movie that traffics in deep hindbrain emotions: fear and rage and lust and, above all, the pure animal drive to go on living.
  25. The great strength of Michael Clayton is that it's no "Erin Brockovich." Rather than a populist tale of class-action triumph, the movie is a grim vision of legal and ethical compromise at the top.
  26. I say give The End of the Tour a try. Ponsoldt’s gentle, talky road movie is a sort of Gen-X update of "My Dinner With André": A movie of ideas that, far from being the pompous screed that category might imply, actually contains interesting ideas — and what’s more, allows its characters’ perspectives on those ideas to remain in productive tension with one another.
  27. The Woodsman should be pretty intolerable, but the writing-line by line-is heartfelt and probing, the direction gives the actors room to stretch out, and the performances are miraculous.
  28. Moonrise Kingdom is fun: a gorgeously shot, ingeniously crafted, über-Andersonian bonbon that, even in its most irritatingly whimsical moments, remains an effective deliverer of cinematic pleasure.
  29. A sturdy piece of work, an old-fashioned conversion narrative with some high-tech zip.
  30. Perhaps more than any of the M:I directors so far, McQuarrie understands the unique properties of this singular movie star — his ascetic intensity, his sometimes-scary moral certainty, his always-scary drive to excel. The result of their collaboration is a briskly paced and witty reminder of why we go see summer action movies in the first place.

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