Slate's Scores

  • Movies
  • TV
For 1,490 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Domino
Score distribution:
1,490 movie reviews
  1. The movie becomes a nail-biter, the audience hanging on every letter. Who could have anticipated that a spelling competition would yield such a heartbreaking thriller?
  2. The sequel is simply a tour-de-force of thriller filmmaking.
  3. Might be the most perversely agreeable stalker picture ever made.
  4. This is the Bill Murray performance we've been waiting for: Saturday Night Live meets Chekhov.
  5. A monument to process -- to the minutiae of making art -- Topsy-Turvy leaves you upside down and breathless.
  6. It's a magnificent achievement—holes, tatters, crudities, screw-ups, and all.
  7. It's only at the very beginning and the very end that Zero Dark Thirty functions (brilliantly) as a ripped-from-the-headlines political thriller. Much of the rest of the time, it's a workplace drama about a woman so good at her job that most of her colleagues think she's crazy.
  8. Poetry in motion: It's eggsquisite.
  9. It’s the unhappiest happy ending I’ve ever seen, a moment that makes you weep not just for this one man who found his way back to freedom, but for all those men and women who never knew it in the first place.
  10. Helen Mirren is a goddess of an actress, and her Queen Elizabeth is maddening, hilarious, and deeply human, galumphing around the Balmoral estate in a tartan raincoat and waders as the Britain she thought she knew crumbles around her.
  11. A stupendously moving film. Neeson nails Kinsey's rock-hard decency and fragile ego, and Linney abets him beautifully: There isn't an actress in movies right now who's more simply alive.
  12. Seeing Killer of Sheep is an experience as simple and indelible as watching Bresson's "Pickpocket" or De Sica's "Bicycle Thieves" for the first time. Despite its aesthetic debt to European art cinema, Burnett's film is quintessentially American in its tone and subject matter. If there's any modern-day equivalent for the movie's matter-of-fact gaze on the ravages of urban poverty, it's the HBO series "The Wire."
  13. With his live-action retelling of Cinderella, director Kenneth Branagh accomplishes a wonderful bit of spellwork: He manages to de-toxify Disney’s flagship fairy tale without overcorrecting away its prettiness, sincerity, or charm.
  14. It's the way Cuarón demonstrates how a simple teen comedy can suddenly blossom into a study of sexual mores, a Mexican political allegory, a song of lamentation -- and still be breezy and funny and sexy as hell.
  15. It's hugely entertaining, it's spectacularly acted, and it pricks you in all kinds of places. Maybe the best thing is to see it and let it bug you, too.
  16. Hoffman goes beyond the surface mannerisms and diction. He disappears into Capote.
  17. The revered Finnish director Aki Kaurismäki has hit on a way to give you grim social realism and movie-ish sentimentality in one fell swoop.
  18. A breezy hoot, and it's gorgeous to look at.
  19. Most love stories are bland and generalized. This one takes you deep inside the dance.
  20. David Cronenberg's elegant treatise on the metaphysics of violence.
  21. It's Schoenaerts' magisterial presence that carries the film. In between bursts of convincingly horrific violence (including a fight in an elevator that makes Ryan Gosling's in "Drive" look like a schoolyard tiff), Schoenaerts also shows himself capable of moments of great subtlety and delicacy.
  22. Wrenching new documentary about returning veterans, may not single-handedly reverse the trend of ignoring Iraq docs in theatrical release, but it should.
  23. Remarkable.
  24. The middle section of the film, in which we follow Jack's childhood in a series of fragmented memories from birth until about the age of 12, is as astonishingly precise a rendering of the way the world looks to a child as I've seen on film.
  25. This is a dazzling movie, yet some people (not kids, but maybe their parents) will be put off by its Grand Guignol ghoulishness.
  26. It’s a stunningly assured debut, a slyly subversive delight, and one of my favorite movies of the year so far.
  27. Though the movie's at least 20 minutes too long, it's deeply satisfying, full of old-school buddy banter and the kind of action sequences that make you burst out laughing at their sheer audacity.
  28. With a charismatic lead performance from Page and a plaintive score of indie-rock songs, many of them by Kimya Dawson of the Moldy Peaches, Juno seems poised to be the season's youth-culture hit.
  29. It's not hard to forgive this series its lack of innovation, because it manages, for long stretches at least, to be something few serial-killer dramas ever are: really, really good.
  30. Crowe's world is an open ecosystem --transcendentally open. This movie is his boombox held aloft.

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