Slate's Scores

  • Movies
  • TV
For 1,435 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Trainspotting
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1,435 movie reviews
  1. This Much Ado About Nothing — while perhaps not an adaptation for the ages in every respect — is as bracingly effervescent as picnic champagne.
  2. Among the most profound, formally complex, and emotionally overpowering documentaries I’ve ever seen. It’s also, by turns and sometimes at once, luridly seductive and darkly comic and physically revolting — a movie that makes you want to laugh and cry and retch and run out of the theater, both to escape the awful things the film is showing you and to tell everyone you know that they need to see it, too.
  3. This movie’s human scale, its unaffected compassion for every one of its far-from-perfect characters, is what kept me on its side throughout.
  4. A wonderful movie, observant and hilarious and full of sad and beautiful truths.
  5. This is not to say that Gravity is a masterpiece: Unlike Cuarón’s extraordinary "Children of Men", it doesn’t quite pull off its ambitious effort to combine formal inventiveness, heart-pounding action, and intimate human storytelling. But it succeeds thrillingly at the first two of those categories, and only misses the mark on the last because it tries a little too hard — which is certainly a welcome respite from the countless sci-fi thrillers that privilege the human story not at all.
  6. And then comes that transcendent last scene, in which the man whose side we’ve barely left during this incredible ordeal is suddenly revealed as the best kind of hero, not super at all but ordinary and vulnerable and human.
  7. 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.
  8. Though it’s just slightly over two hours long, The Wind Rises has the historical sweep of a David Lean picture, complete with panoramic shots of migrating populations against a background of disaster and a romantic orchestral score by Miyazaki’s longtime musical collaborator, Joe Hisaishi.
  9. 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.
  10. 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.
  11. Byrne, who played a tightly wound control freak to perfection in "Bridesmaids," here gets a chance to bust loose. In a late sequence where she frantically spearheads a multipart mission to bring down Delta Psi from the inside, Byrne makes you wish someone would write a big, broad, raunchy comedy just for her.
  12. Days of Future Past is the kind of extravagant production that sweeps you up in a sense of mythic grandeur even as you struggle to follow what’s going on.
  13. A slow-burning suspense thriller about a trio of eco-terrorists conspiring to blow up a dam, it’s directed by Reichardt with the concision and elegance of a chess master.
  14. Above all else, Venus in Fur is a sharp, sexy comedy (adapted by Ives and Polanski from a translation by Abel Gerschenfeld) performed by two superb and superbly in-tune actors, and directed with a sure hand by a filmmaker who’s clearly not cowed by the challenge of blowing up a two-person chamber piece for the screen.
  15. Because I'm a sucker--I was entertained...The script is good at making you think that it has better cards than it really does. And the actors constitute a royal flush--OK, OK, enough with the poker metaphors.
  16. Its structure is repetitive, but each scene begins with a joyous blast of comic energy...A hoot.
  17. Once the premise had been established and the leads began to interact, I stopped totting up the inanities and had a good time.
  18. Fitfully haunting and impressive: a little less loitery and opaque and it might have been a classic.
  19. It's square, stiff, and in places cheesy; it's also authentically harrowing -- and blood-showered, blood-drowned.
    • 72 Metascore
    • 70 Critic Score
    Smoothly narrated and is packed with some wonderful quirks. Nonetheless, it could have taken more to heart the lovely paradox it reserves for Jessica: that we most become ourselves in our capacity to surprise ourselves.
  20. At his best (Woo)'s too promiscuous with the slow motion; and once those doves start fluttering in he enters a new dimension in self-parody.
  21. Groove offers the most wholesome vision of orgiastic oneness imaginable -- it's a raver's version of "The Love Boat."
  22. Quite likable -- even sometimes, with the squeezable Zellweger its principal object, lovable.
  23. It's only fitting that we emerge from Series 7 feeling both entertained and implicated.
  24. Faithless is almost entirely insight-free. Bergman gives no indication that he understands the link between his alter ego's "retroactive jealousy" and compulsive womanizing.
  25. I fear that the cozy domestic ending will leave audiences disappointed, convinced that they've seen something smaller and less momentous than they have.
  26. Gleefully pushes everyone's buttons...and that manages to exploit our own racial discomfort and envy in ways that leave us hungry for more.
  27. A religious conspiracy disguised as a romance.
  28. A lot more fun than "Blair Witch," and it's more relaxed and goofy than its two predecessors -- a farcical bloodbath.
  29. Most haunting of all is Caan, who has never given a performance this layered.

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