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 House of Flying Daggers
Lowest review score: 0 The Amityville Horror
Score distribution:
1648 movie reviews
  1. RED
    Red simultaneously tries too hard and not hard enough.
  2. The X-Files isn't so much a bad movie as it is a crackerjack piece of television. It's crisply made--not sodden like many of the "Star Trek" pictures. But it's as annoyingly open-ended as the rest of the series' episodes.
  3. This rough-edged parody feels both distinctive and handmade, and for those reasons alone it’s a hard movie to hate, even when it temporarily loses its comic footing. Anyway, as romantic comedies down the ages have taught us, hatred is just a latent form of love.
  4. It more or less works.
  5. Levinson must think he's on safe ground morally by keeping Bandits bloodless, as if the absence of carnage somehow makes kidnapping and armed robbery wholesome.
  6. The dad minds behind Bad Moms don’t seem to understand, or be terribly curious about, the minds of mothers.
    • 59 Metascore
    • 60 Critic Score
    Aggressively adolescent. It hearkens back to the time in a young man's life when humping monkeys were funny, when a promise didn't count if your fingers were crossed, when debating pointless hypothetical questions held a fascination, and when professional wrestling offered endless, senseless entertainment.
  7. A more down-to-earth actor would sentimentalize Breakfast on Pluto and make for an awkward fit with its peculiar mix of tones. Murphy's strangeness--his chill estrangement--makes his campy "Kitten" persona more poignant.
  8. The combined efforts of this fine ensemble cast make Tower Heist go down easier than it otherwise might, but the film's potential as a buddy comedy is sadly wasted.
  9. Rather than having too much pure Tolkien, it offers too much pure Jackson. It may occasionally seem to be aware of its undiluted preposterousness, but that hardly eases the experience of sitting through its endless cartoonish action sequences and overwrought emotional payoffs.
  10. It would be imprecise to say that the thrill is gone, because The Lost World recovers from its turgid opening and comes to life, or does so in spasms.
  11. Whether unintentionally or by design, the movie never really makes a case either for or against the troubled figure at its center.
  12. As a scare picture, Signs is good enough. As a religious parable, it's scarier -- and I don't mean that as a compliment.
  13. Though it's about a pair of lovers whose passion is strong enough to break down the barriers between life and death, this mildly amusing, sort-of-sweet comedy is strangely sexless and passion-free-these bodies, whether human or zombie, feel room-temperature at best.
  14. Still, the movie’s mores can feel cluelessly retro as the ever-dithering Bridget lurches between one man and another.
  15. I half-admire its exquisite balancing act, squeezing laughs out of its leading lady's wardrobe, vocabulary, gestures, and cretinously oblivious Beverly Hills sense of entitlement, while simultaneously demonstrating her brilliance, sturdy ethics, and unflappable egalitarianism.
  16. Cars 3 is still lower-tier Pixar.
    • 59 Metascore
    • 50 Critic Score
    Limitless is frustrating, in part, because it could have been much better.
  17. In LaBute's movies, people are either clueless dupes or psychotic manipulators, while art is meant to rub your face in unpleasant "truths." And I think he takes a little too much pleasure in that nose-rubbing.
  18. It walks and talks and moves very fast, but it never lives.
  19. Fearless as these racers are, it's hard to muster enthusiasm for a movie that plays chicken and then swerves about a mile before the collision.
  20. August: Osage County is a mess, an overcooked movie-star stew that never quite coheres into a movie.
    • 58 Metascore
    • 50 Critic Score
    An uninspired hodgepodge.
  21. "Three Kings" is fictional, obviously, and Mendes and Broyles were bound by the facts of Swofford's life. But the violence in "Three Kings" was visceral, whereas Jarhead's never penetrates the blood-brain barrier. It's locked away in its narrator's jarhead.
  22. The conventional meet-cute love story at the center of The Dictator feels like a bizarre concession to some nonexistent demographic that prefers its sick black comedy with a side of humanist sentiment.
  23. Quantum of Solace, the first bona fide sequel in the Bond series, has the poky pace and expository padding of the middle chapter of a trilogy.
  24. When those talking heads metamorphose into familiar ranting heads, it becomes another mesmerizing right-wing horror show.
  25. I bet that what Carrey saw from inside Kaufman's head would be more illuminating than anything in the movie.
  26. The most fluid, lyrical, and even-toned work of his (Burton's) career. It's also the most boring by a factor of 10.
  27. Portman doesn't overact or underact; she just stands around with whatever the appropriate expression for the scene seems to be on her sweet, pretty, childlike face. If there's something going on behind that face, I neither know nor care what it is, which means that long stretches of Brothers involving her character's interiority struck me as dramatically inert.

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