Slate's Scores

  • Movies
  • TV
For 1,513 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Igby Goes Down
Lowest review score: 0 The Love Guru
Score distribution:
1,513 movie reviews
  1. The final minute of the movie is one of the most bleak, and moving, endings I've seen in years.
  2. Salles brings an explorer's eye and breathless curiosity to this fetid milieu, and he gets the most brilliant performances imaginable for this sort of movie.
    • 70 Metascore
    • 80 Critic Score
    If Contagion is a "horror movie," as Soderbergh has described it, then you can think of it as the most believable zombie movie ever made.
  3. A pandering, debased, generic little nothing of a movie. And I'm still trying to figure out why I loved it so inordinately.
  4. The downside to all this stylishness: that A Very Long Engagement is Amélie Goes to War.
  5. Captain America isn't a masterpiece, but it's a solidly crafted, elegant adventure movie that held my attention from start to finish and sent me out into the street energized instead of enervated.
  6. The characters are much less finely tuned and the climax is a botch, but the French-financed film is often a riot, and the sensibility is all there.
  7. It keeps surprising us, mainly by being consistently smarter and sadder than inspirational-teacher movies usually let themselves be.
  8. 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.
  9. An aching roundelay, a triumphantly benumbed ensemble farce that mingles condescension and compassion in a manner that's disarmingly--and often upsettingly--original.
  10. Julie & Julia makes deboning a duck a feminist act and cooking a great meal a creative triumph. The stakes may not be as high as the kill-or-be-killed suspense of a summer action movie, but the sauces are way tastier.
  11. This is a grippingly original work, with gorgeous cinematography by Christopher Blauvelt, and the first hour or more achieves something like greatness.
  12. This elegantly hand-drawn caper doesn't have a lot to it - a little girl and her cat help break up a Parisian crime ring, un point c'est tout. But it moves to a different rhythm than the animated spectacles we're used to - it's sparer, less hectic, less cute - and the difference feels welcome and refreshing.
  13. A scruffy delight, a movie with the happiest sort of family values.
  14. 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.
    • 56 Metascore
    • 80 Critic Score
    The richly multilayered picture tends to have a gently immersive effect, akin to a stroll through the world's most expensive diorama.
  15. Throughout this terse, entertaining parable (it won the grand prize at this year's Cannes Film Festival), the Belgian-born writer-directors Luc and Jean-Pierre Dardenne ("La Promesse," 1996) immerse you in the sensations of Rosetta's life.
  16. Sets you nearer than theater permits -- and further back than most movies dare. A magic vantage.
  17. The Italian is an aesthetic gem, but a moral muddle.
  18. 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.
  19. Top Five is not an op-ed. The movie probably makes its loudest statement about race simply by existing: an ambitious and personal film full of black stars, backed in part by black producers, written, directed by, and starring a hugely popular black artist.
  20. Tabloid is the perfect movie for that night when you can't decide whether to see something low- or highbrow. It's seamlessly and satisfyingly both.
  21. I laughed all the way through Team America: Scene by scene, it's uproarious.
  22. The German reserve and Italian extroversion are in just the right balance. The movie exists on a tantalizing border -- and I don't mean Switzerland.
  23. When the groom's enormous procession fights its way through the hard rain and muck to the bejeweled bride, Nair's chaos downright sparkles.
  24. It's not a flawless adaptation, but it's a gutsy and deeply affecting one: The filmmakers manage to jazz up Smiley's tempo without losing her melancholy tone; and they find a way--without being untrue to the book--to make the stubbornly recessive protagonist seem a dynamo on the screen.
  25. The feature debut of young Norwegian director Joachim Trier, is as crisp and cool as a swig of Champagne.
  26. Lincoln does sometimes get a little sappy around the edges. Though his project here is clearly one of conscious self-restraint, Spielberg can't resist the occasional opportunity for patriotic tear-jerking, usually signaled by a swell of John Williams' symphonic score. But in between, there are long stretches that are as quiet, contemplative, and austere as anything Spielberg has ever done.
  27. The most remarkable thing Sugar does is give American viewers a sense of how our country must seem to a newly arrived immigrant, without caricaturing or condescending to either guest or host.
  28. Fish Tank manages to be about exploitation without being exploitative. For my money--and without opening up the "Precious" debate again--it's by far the better movie.

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