Slate's Scores

  • Movies
  • TV
For 1,484 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 Force Majeure
Lowest review score: 0 Men in Black II
Score distribution:
1,484 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. It's fun to see actors doing what they do and to see them through the eyes of a director.
  5. 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.
  6. Man on Wire brings back a time when the towers were still symbols of aspiration and possibility.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. A sturdy piece of work, an old-fashioned conversion narrative with some high-tech zip.
    • 76 Metascore
    • 80 Critic Score
    Like "Anvil!," Sacha Gervasi's 2008 documentary about two lovable, bickering metalheads, Beats, Rhymes & Life is a music documentary with a buddy-movie heart.
  13. Impressive and heartfelt.
  14. Something between a love story and a religious morality tale. The hauntingly ambiguous last scene, in which Lorna finds a place of temporary respite from the economic forces that have determined so much of her life, may be the saddest happy ending I've ever seen.
  15. Its visual splendor more than makes up for its intellectual poverty.
  16. It has been sexed up, opened out, and finished off with a disappointing bang-bang climax, but it's still good fun.
  17. The film has a kamikaze comic spirit that's spectacularly disarming.
  18. The whole movie is like that: gleaming, but with a whiff of the charnel house. Dirty Pretty Things doesn't quite cut to the bone, but it gets as far as a couple of vital organs.
  19. I could quibble with the conventionally romantic ending and a couple of small but not-so-cosmetic alterations, but on the whole, this is just how I'd always imagined one of my favorite comic novels should look and sound.
  20. Admirable and wondrously strange--as well as gorgeous, funny, dreamlike, mesmerizing, squirmy, and occasionally annoying.
  21. The Farrellys have set themselves the awesome task of arguing passionately for the non-importance of appearance while at the same time making relentless sport of it. The happy news is that they pull it off: In Shallow Hal, they've contrived a deeply humanist gross-out comedy.
  22. To undertake a thriller of this length and scope with no prospect of a morally satisfying resolution, Fincher must have been a little nuts himself. We'll see whether audiences used to the tidy one-hour cases on "CSI" and "Law & Order" will follow him down Zodiac's murky, twisted, and ultimately dead-end street. It may not sound like it from that description, but it's a hell of a ride.
  23. The film is marvelous fun on its own terms -- I laughed all the way through it.
  24. Happy People's images of the Taiga, while often breathtaking, come from the standard visual language of nature documentary: in between interviews with villagers, cutaways to icicles hanging from branches or dawn breaking over an expanse of snow. It's Herzog's inventive use of voice-over that elevates the film above an extremely well-researched episode of "Nature."
  25. Obviously, this sort of taboo-flouting imagery isn't for everyone, but Park's vision is all of a piece.
  26. At its best, the movie evokes that blend of thrill and terror that comes from mixing two chemicals together without being sure that an instant later you'll still be standing there in one piece.
  27. The ultimate praise given to sports movies is always, "Even if you don't care about sport X, you'll care about these characters," and that's certainly true of Undefeated (I don't, and I did).
  28. Despite the movie's many flaws, the two leads' genuine rapport is enough to give the audience a solid contact high.
  29. A truly unformulaic comedy of lust and greed, a farce that seems to write itself, slap-happily, as it goes along.

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