Slate's Scores

  • Movies
  • TV
For 1,481 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 The Lives of Others
Lowest review score: 0 I'm Still Here
Score distribution:
1,481 movie reviews
  1. The recent film it most recalls is "You Can Count on Me" (2000), another small treasure about a fractured family that managed to be moving without troweling on the sap.
  2. The world according to Mann is loud, dangerous, morally ambiguous, and more than a little greasy, but during the hours you spend there, there's nowhere you'd rather be.
  3. It keeps surprising us, mainly by being consistently smarter and sadder than inspirational-teacher movies usually let themselves be.
  4. It's an exquisitely crafted period picture that keeps promising more and more as it goes along--smarter ideas, richer themes, spookier plot twists--and keeps delivering on every promise, right up until the rug-pulling and overly hasty final sequence.
  5. Peter O'Toole is magisterial, blustering and sublime: His half-deaf duke still has a touch of Lawrence of Arabia's showstopping power.
  6. The movie is both clever and ruthless at exposing the ratings board's inconsistencies and hypocrisy.
  7. The final minute of the movie is one of the most bleak, and moving, endings I've seen in years.
  8. To me, the movie feels like a small but ingeniously crafted gift.
  9. All of the actors, most notably Winslet, are superb, but the movie belongs to Jackie Earle Haley, a former child actor.
  10. The Prestige is utterly without pretense. It doesn't want to explore epistemological questions about the nature of perception and memory; it just wants to mess with our heads. And as a wily, slightly sadistic chess game of a movie, it succeeds quite nicely.
  11. Babel has great expectations for itself: It wants to be a movie about big ideas and big emotions at the same time. Aided by gorgeous locations and classy trappings (cinematography by Rodrigo Prieto, theme music by Gustavo Santaolalla), it succeeds for the most part.
  12. Martin Campbell (who also directed Pierce Brosnan's first outing as Bond in "Goldeneye"), has chosen to give us a Bond who's both metaphorically and literally stripped bare. Let me take this opportunity to thank him for both.
  13. The performances are so passionate and the characters (even minor ones) so deftly sketched that it's impossible not to get swept up. You watch the battle scenes from behind your hands, just praying that these guys make it.
  14. Written and directed by Wisit Sasanatieng, a commercial director making his first feature film, Tears of the Black Tiger is a technical and aesthetic marvel.
  15. The Italian is an aesthetic gem, but a moral muddle.
  16. To undertake a thriller of this length and scope with no prospect of a morally satisfying resolution, Fincher must have been a little nuts himself. We'll see whether audiences used to the tidy one-hour cases on "CSI" and "Law & Order" will follow him down Zodiac's murky, twisted, and ultimately dead-end street. It may not sound like it from that description, but it's a hell of a ride.
  17. The TV Set is a little wonder of a movie, as smart and sad and true as any comedy I've seen this year.
  18. Really, do we need another dumb action movie to remind us how dumb action movies are?...Yes. We absolutely do.
    • 78 Metascore
    • 80 Critic Score
    The first hour of this lean, mean, 95-minute scream machine is so tasty that it redeems the predictable conclusion.
  19. It's one of those zeitgeist-tapping romantic comedies that feels like a generational marker, a "Tootsie" or "The Graduate" for the 21st century.
  20. In moments--the early moments--Sunshine can feel like a new genre classic, albeit one heavily in debt to its predecessors.
  21. Nearly all of the show's minor supporting characters--Moe Szyslak, Cletus the Slack-Jawed Yokel, Hans Moleman--get to make at least an appearance, though it would have been nice to see larger speaking roles for favorites like Apu and Mr. Smithers.
  22. The great strength of Michael Clayton is that it's no "Erin Brockovich." Rather than a populist tale of class-action triumph, the movie is a grim vision of legal and ethical compromise at the top.
  23. Burton's overall restraint is a welcome surprise. Shorn of his usual camp trappings, the director evokes a sadness beneath every uneasy smile he draws from the audience.
  24. It's a delicate parable, droll rather than funny, wise rather than smart. Eran Kolirin, debuting as a writer-director, has the deadpan sparseness of the Finnish Aki Kaurismaki, but his vision is gentler, less bleak; at moments, the movie is almost sentimental, but the performances save it every time.
  25. When it's idling in neutral, and we're watching Stark putter in his workshop or seduce unsuspecting journalists, Iron Man abounds in that rarest of superpowers: charm.
  26. The feature debut of young Norwegian director Joachim Trier, is as crisp and cool as a swig of Champagne.
  27. Wall-E is an improbable delight, a G-rated crowd-pleaser.
  28. Man on Wire brings back a time when the towers were still symbols of aspiration and possibility.
  29. Hathaway transcends her usual complacency in this role and resists the temptation of using Kym's (and her own) wounded-bird appeal to let the character off the hook.

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