Slate's Scores

  • Movies
  • TV
For 1,578 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Inside Out
Lowest review score: 0 Just Go with It
Score distribution:
1578 movie reviews
  1. As messy and flat-footed as its predecessor is nimble and shapely. It's an ugly, bloated, repetitive movie that builds to a punch line that should have come an hour earlier (at least).
  2. The whole movie is like that: showy stunts, explosions, over-the-top acting, fiesta colors, lurid angles, and a sense of nothing--nada--at stake.
  3. A film adaptation should, of course, treat its source material as inspiration rather than dogma. But did Burton have to get the books so ENTIRELY wrong?
  4. Sadly, these small bursts of beauty seemed so at odds with the movie's general crushing mediocrity that they were like quickly squelched protests against it.
  5. At least Kudrow won't get the blame for Marci X: What really sinks the movie is Wayans.
  6. The SNL skits get laughs from combining the grandiose scope of an action movie with the cramped, bare-bones stage of a live late-night comedy show. It's funny because it looks dinky, cheap, and fake. By showing real buildings really exploding, and real throats—or a believable simulacrum thereof--ripped open by real bare hands, MacGruber commits the deeply MacGruber-esque mistake of shooting itself in the foot.
  7. In its eagerness to drag us through the lower depths of human experience, Precious leaves no space for the audience to breathe or to draw our own conclusions. For a film about empowerment and self-actualization, it wields an awfully large cudgel.
  8. This mad prophet says it will die in a week.
  9. I didn’t like the movie at all — found it boring, unintentionally comical, at times even (a word I seldom use) pretentious — but I admire the rest of your work so much that I nonetheless feel the need to defend To the Wonder.
  10. When a movie wrenches you with the deaths of children then leaves you with nothing to take home but your confusion, it can make you thirsty for the blood of directors.
  11. The reductio ad absurdum of a summer blockbuster. It is loud (boom!), long (two and a half hours!), incoherent (poorly explained intergalactic warfare!), leering (Megan Fox in short shorts!), racist (jive-talkin' robot twins!), and rife with product tie-ins (Chevy! Hasbro!).
  12. Much of K-Pax consists of Spacey grinning like Stevie Wonder behind sunglasses, -- taking dippy steps, and bobbing his head as if attached to an invisible Walkman.
  13. It's a mystery how such a hodgepodge, at once incoherent and overfamiliar, could have come together on screen.
  14. So sniggeringly one-sided that the picture has no tension.
  15. It's another dumb vengeance picture -- "In the Bedroom" for meatheads.
  16. The Hong Kong vet director, Ronny Yu, did a bang-up job in 1998 with "Bride of Chucky," but he can't do much for this one except keep it moving, light it scarily, and pump that plasma.
  17. Isn't terrible. OK, it's kind of terrible, but it's a talking-dog movie, and anyone who goes to a talking-dog movie without being prepared to step in poop deserves to ruin his shoes.
  18. I'm not sure if the movie's lack of momentum is the fault of the director, the screenwriter, or the star, Romano. But most likely, it represents the luckless convergence of three dismayingly low-watt talents.
  19. It's deeply committed to its own weird conceit, diminishing returns and all.
  20. Smokin' Aces is awash in ammo and carnage, but it chugs to the finish line with a tank full of sludge.
  21. Ought to have been called "Slugs for Snails," so leisurely does it creep toward its predictably bombastic conclusion.
  22. At times the movie's crudeness has an eerie beauty, but the musical fantasies are a bewildering hash, and the protracted climax on death row is nearly unendurable.
  23. Psychologically thin, artistically flabby, and symbolically opaque.
  24. As usual with Penn, I don't completely buy the character, but I completely buy that he has brilliantly internalized SOMETHING. He goes to some weird psychological places, our Sean.
  25. The absence of a single noteworthy villain is perhaps this movie’s most salient flaw (along with the jumbled, barely coherent editing of a seemingly endless chase through a Moscow traffic jam).
  26. This is a rhythmless, stupefying work. A person with no discernible pulse ought not to be directing a movie about disco.
  27. It would be easier to forgive Identity Thief its overfamiliar comic setups and shameless gag-recycling if the movie’s second half didn’t make such an abrupt about-face from soliciting our revulsion to begging for our pity.
  28. When it comes to weaving personal stories in and out of the special-effects set pieces, the director has the most colossal antitalent since Ed Wood Jr.
    • 46 Metascore
    • 30 Critic Score
    Remember that scene from "Raiders of the Lost Ark," when a swastika-stamped Nazi crate explodes for no good reason (beyond the fact that the Ark hates Nazis)? Red Tails is like that, only less awesome, and considerably longer.
    • 55 Metascore
    • 30 Critic Score
    Volcano is just another $100 million genre movie, and a pretty lousy one, to boot.

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