Slate's Scores

  • Movies
  • TV
For 1,454 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Life Is Beautiful
Score distribution:
1,454 movie reviews
  1. Linklater may not have set out to make a decade-spanning triptych of poetic meditations on youth, young adulthood, and middle age, but he, Hawke, and Delpy have accomplished exactly that. The Before series has steadily gotten better as it goes along, which is more than any but the most optimistic among us dare to hope for from love.
  2. This Much Ado About Nothing — while perhaps not an adaptation for the ages in every respect — is as bracingly effervescent as picnic champagne.
  3. 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.
  4. 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.
  5. A wonderful movie, observant and hilarious and full of sad and beautiful truths.
  6. 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.
  7. 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.
  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. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. Lithgow and Molina play Ben and George with such depth, tenderness, and history that their affection for one another’s bodies (there’s no sex, but loads of snuggling) seems like a natural extension of their pleasure in being together.
  17. 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.
  18. 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.
  19. This is no tale told by an idiot — on the contrary, it’s a funny, fast-moving parable about fame and ambition, laid out for us with care and craft by a gifted filmmaker, a long-missed actor, and a world-class cinematographer. But I’m left with the suspicion the whole thing may signify — well, if not nothing, at least a good deal less than the filmmakers would have us believe.
  20. A movie I snickered at more than once but never stopped staring at in wonder. This isn’t Nolan’s best film by any stretch, but it abounds in the qualities that are among his strengths.
  21. Jones and Redmayne are both superb as a devoted but imperfect pair of headstrong people trying, and sometimes failing, to treat each other with care and respect.
  22. 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.
  23. Its structure is repetitive, but each scene begins with a joyous blast of comic energy...A hoot.
  24. Once the premise had been established and the leads began to interact, I stopped totting up the inanities and had a good time.
  25. Fitfully haunting and impressive: a little less loitery and opaque and it might have been a classic.
  26. 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.
  27. 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.
  28. Groove offers the most wholesome vision of orgiastic oneness imaginable -- it's a raver's version of "The Love Boat."
  29. Quite likable -- even sometimes, with the squeezable Zellweger its principal object, lovable.

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