Slate's Scores

  • Movies
  • TV
For 1,648 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Wallace & Gromit: The Curse of the Were-Rabbit
Lowest review score: 0 Men in Black II
Score distribution:
1648 movie reviews
  1. It's like spending an afternoon--a long one--at a beautifully lit wax-museum display inspired by earlier gangster movies.
  2. Pitt's great in character roles, as a comic grotesque or an unrepentant scoundrel. (See Burn After Reading or, for that matter, Fight Club.) But as a passive, introspective leading man like Benjamin, he's just dull.
  3. It's a daring and original effort, yet so noncommittal--so purposely vague--that it's apt to leave you flummoxed: at once stricken and etherized.
  4. The most memorable element of The Winter Soldier, besides Redford, is probably Scarlett Johansson, whose dryly funny Natasha at times comes perilously close to being … a well-developed female character?
  5. Heartfelt but muddled film.
  6. The parents are the casualties of Mills' misplaced sincerity, which makes Thumbsucker the quintessential misadapted head-scratcher.
  7. The heat [Chow] conjures between his leads never rises above a low boil. That’s because Chow never bothers to pretend as if the romance really matters —it’s merely an excuse for a parade of blisteringly clever comic set pieces.
  8. It might even have been a landmark film about race relations had its aura of blunt realism not been dispelled by a toxic cloud of dramaturgical pixie dust.
  9. It's a textbook example of a well-crafted movie, beautifully shot, impeccably acted, and structured like an elegant three-act play. So why does the movie feel as pleasantly deadening as the midcentury Connecticut suburb where it takes place?
    • 69 Metascore
    • 50 Critic Score
    Lion goes again and again where you expect it to, delivering little more than the awards-season equivalent of "Homeward Bound."
  10. Sour and mostly feeble, with a depressingly curdled worldview. It bears no resemblance to Allen's surreal, open-ended comedies.
    • 69 Metascore
    • 60 Critic Score
    The great flaw in most of the Coens' work is, surprisingly, an inability to sustain a plot over a two-hour span.
  11. A feminist sitcom tricked up with garish violence and garrulous hit men.
  12. The Slums of Beverly Hills never gels, but it has a likable spirit, and it's exceedingly easy on the eye, with lots of pretty girls and wry evocations of '70s fashions and decor.
  13. The movie says that the rebellious spirit that generates art can also consume and destroy -- that there's no undangerous way to ride the tiger.
  14. The tedium of Into the Woods’ second half has less to do with the downbeat subject matter than Marshall’s clumsy direction.
  15. At 93 minutes, Chronic felt unbearable to sit through, at once intimate and difficult, boring and acute. Its tone aspires to the numbness of a limb pinned for too long under a heavy weight.
    • 69 Metascore
    • 60 Critic Score
    Wahlberg may have succeeded in singlehandedly cracking the case and bringing the perpetrators to justice but — like the film itself—he fails to find meaning in the wreckage.
  16. For all the film’s best intentions — and a finely tuned performance from the ever-better Woodley — for me The Fault in Our Stars never entirely found its way out of Sparks territory.
  17. If only the results weren't so respectably dull.
  18. Kill Bill is about nothing more (or less) than its director's passion for the mindless action pictures that got him through adolescence. It isn't sex without love: It's an orgy with just enough love.
  19. Though the subject matter sounds depressing, Crazy Love has an infectious, even bouncy tone.
  20. It's full of moving (and surprisingly ungross) filmed deliveries, including those by Epstein and Lake themselves. Unfortunately, the movie is also a propagandistic brief on behalf of the home-birth movement that's so selective in its presentation of information that it makes Michael Moore look like a fat lady in a blindfold holding a pair of scales.
    • 68 Metascore
    • 60 Critic Score
    I left the film moved to tears, and still feeling like something huge was missing.
  21. I could go on about the beautifully detailed production design, the fresh performances from unknown and often nonprofessional actors, blabbety blah. But praising the movie's craftsmanship seems less urgent than communicating the overwhelming experience of watching it: the clammy, claustrophobic dread of being trapped in a torture chamber.
  22. Even in the film's weaker stretches, the fierce presence of Tilda Swinton made it impossible to tear my eyes away.
  23. The Hateful Eight is bold, gorgeous, verbally clever, morally repellent, and, in some way I am still struggling to put my finger on, possibly somehow evil. Any movie that inspires mixed feelings that intense can, I suppose, be said to have done its work on the viewer. But I’m not sure the work The Hateful Eight performed on me was what the filmmaker intended or that it’s an operation I would consent to again.
  24. To paraphrase the novel's famous last lines, it's not often a story comes along that can make for both a great book and a wonderful movie. Charlotte's Web isn't both.
  25. Howard might be a major actor. His DJay, though, is a major character in search of a major author.
    • 68 Metascore
    • 60 Critic Score
    It's alert to its characters' constantly evolving desires in ways that high- and low-culture movies, with their strict aesthetics or their mass-market formulas, tend not to be.

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