Slate's Scores

  • Movies
  • TV
For 1,557 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 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Bright Star
Lowest review score: 0 The Wings of the Dove
Score distribution:
1557 movie reviews
  1. By the third big climax the audience started to get impatient with the movie's pointless zigs and zags.
  2. It skips lightly over the surface of its rich material, more preoccupied with making pretty pictures than dipping below the surface so that you can experience the world through the eyes of its traumatized, yet increasingly savvy, heroine.
  3. From time to time, Bad Teacher gestures vaguely at the movie it could have been. Diaz slouches and snarls effectively through the early scenes. It isn't till we realize her redemption will be unsatisfying that the character starts to curdle.
  4. Woo could end up becoming the John Ford of schmaltz.
  5. Epic in size but claustrophobically narrow in scope, The Wolf of Wall Street maintains a near-exclusive focus on the greed and self-indulgence of its proudly rapacious hero.
  6. I will hold against him (Shyamalan) that Lady in the Water isn't scary, that its own inner logic breaks down at countless points along the way, and that its ending is disappointingly literal and just plain stupid. Lady in the Water is, however, funny at times, even intentionally so.
  7. The movie is a peculiar and unsatisfying hybrid--but above all it's a pedestal to its popular leading man, Ben Stiller.
  8. No Strings wants to be raunchy enough to pull in the dude crowd and snuggly enough to draw couples on dates. Instead, it's an inoffensive bore with occasional R-rated sex scenes that strain for cutesy shock value.
  9. Enjoyable in patches, but only because of the goodwill that most of us still have toward Sandra Bullock.
  10. And an attempt to address the series' endemic whiteness by adding a subaltern black character--Jennifer Hudson as Carrie's designer-bag-toting Girl Friday--is a major misfire that only underscores our heroine's oblivious entitlement
  11. The film features plot turns of howling implausibility, leading up to a mechanical climax that resolves the story without forcing either of the principal characters to make the uncommercial decision to blow the other away.
  12. Something about Wilson is just so comfortable, so loose, that he can make the most pointless movie seem, by moments, as if it deserves to exist. But even the presence of the Butterscotch Stallion can't sweeten this bland compendium of rom-com clich├ęs.
  13. The most offensive bodily fluid being hurled around in Due Date are the tears that Phillips dishonestly tries to wrest from the audience's eyes.
  14. Takes off into the comic stratosphere in its first sequence and then slowly sinks to Earth, made logy by its noble means and Sayles' increasing inability to shoot anything but fat clots of undramatic talk in the most boring manner imaginable.
  15. The strands in High Crimes don't coalesce. Those red herrings somehow take over the picture; the thing itself turns into a giant red herring.
  16. Begins too cruelly and ends too sappily but holds you somewhere between the two extremes until the semisweet finale.
  17. The credits had just started and I was already looking for a barf bag.
  18. The only question worth asking about an early January horror movie is if its inevitable badness is at all interesting.
  19. Bizarrely depressing.
  20. Tron: Legacy is the kind of sensory-onslaught blockbuster that tends to put me to sleep, the way babies will nap to block out overwhelming stimuli. I confess I may have snoozed through one or two climactic battles only to be startled awake by an incoming neon Frisbee.
  21. 9 Songs could have been "Last Rock Show in London." Unfortunately, it's stupefyingly dull, even with good music and at the short but resonant length of 69 minutes.
  22. With its low-stakes chase scenes, obvious-from-the-get-go villains and nonsensical plotting, this feels more like a 96-minute-long episode of Scooby-Doo that's been laboriously translated into another language and then back into English.
  23. This is an extraordinary -- and unfathomable -- piece of whitewashing: a true snow job.
  24. A depressing comeback for Jane Fonda, but it's still nice to see her in movies again, and in something that isn't dripping with self-actualizing virtue like her last projects.
  25. This script - a collaboration between Hanks and Nia Vardalos, the writer and star of "My Big Fat Greek Wedding" - would need multiple punch-up sessions to attain mediocrity. Roberts and Hanks aren't just prevented from playing their A games; they're never even taken off the bench.
  26. Emminently skippable.
  27. The final illuminations (people have demons, a mind is a terrible thing to lose) are a poor return on nearly two hours of ear-buckling, eye-stabbing incoherence.
  28. And you wait--and wait--for the magic of movies.
  29. The realities that Crowe creates all seem like pleasant enough places to be, but you'd never mistake them for real life. The fuzzy, squishy world of We Bought a Zoo may be the Cameron Crowe-iest of them all.
    • 30 Metascore
    • 30 Critic Score
    Impressively sets a new standard for time travel gone awry.

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