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 Lord of the Rings: The Fellowship of the Ring
Lowest review score: 0 The Amityville Horror
Score distribution:
1,524 movie reviews
  1. 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.
  2. It's the work of an old master summing up. It sure feels that way. The screenwriter, Anne Rapp, has provided Altman with a blueprint not only for an ensemble comedy but also for a comedy that honors the very idea of an ensemble. It's no wonder Altman fell on it.
  3. It's to the director's credit, and Pitt's, that Moneyball is anything but bloodless - in its own quiet, unspectacular way, this movie courses with life.
  4. Because of its convolutions, Howl's Moving Castle isn't quite as transporting as "Spirited Away." But it's a moving bridge between his lyrical fancies and his outrage. Miyazaki is like a soulful cartographer of the soul, mapping our inner landscape, leaving us bedazzled.
  5. Like Statler and Waldorf, older viewers may kvetch and cavil about the details, but when that red velvet curtain goes up, we wouldn't give up our balcony seats for the world.
  6. The film isn't in the same key as Pekar's comic: The tempo is buoyant, puckish, and even more "meta" than the original.
  7. As I watched American Movie, a lot of it struck me as untranscendent misery. But in hindsight it seems less hopeless.
  8. The final minute of the movie is one of the most bleak, and moving, endings I've seen in years.
  9. 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.
  10. A pandering, debased, generic little nothing of a movie. And I'm still trying to figure out why I loved it so inordinately.
  11. The downside to all this stylishness: that A Very Long Engagement is Amélie Goes to War.
  12. 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.
  13. 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.
  14. It keeps surprising us, mainly by being consistently smarter and sadder than inspirational-teacher movies usually let themselves be.
  15. 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.
  16. An aching roundelay, a triumphantly benumbed ensemble farce that mingles condescension and compassion in a manner that's disarmingly--and often upsettingly--original.
  17. 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.
  18. This is a grippingly original work, with gorgeous cinematography by Christopher Blauvelt, and the first hour or more achieves something like greatness.
  19. 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.
  20. A scruffy delight, a movie with the happiest sort of family values.
  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.
    • 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.
  22. 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.
  23. Sets you nearer than theater permits -- and further back than most movies dare. A magic vantage.
  24. The Italian is an aesthetic gem, but a moral muddle.
  25. 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.
  26. 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.
  27. 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.
  28. I laughed all the way through Team America: Scene by scene, it's uproarious.

Top Trailers