Slate's Scores

  • Movies
  • TV
For 1,630 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Apostle
Lowest review score: 0 Just Go with It
Score distribution:
1630 movie reviews
  1. Denzel Washington is so powerfully earnest an actor that you never want to laugh at him -- even when you ought to be in stitches.
    • 54 Metascore
    • 50 Critic Score
    Milla Jovovich is not quite up to the task of playing a nuanced and thoughtful Joan.
  2. 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.
  3. Thoroughly second-rate -- which is to say that it waddles when it ought to whiz, clanks when it strives for cornball poetry, and transforms its august stars into something akin to a manic dinner-theater troupe.
  4. A climactic twist that's among the stupidest I've ever seen-almost up there with another Costner movie, "No Way Out," and "The Life of David Gale."
  5. Horrible Bosses doesn't quite qualify as a black comedy. Without the conviction to follow through on its own macabre premise, this underachieving little movie washes out to a muddy grayish-brown.
  6. Albert Nobbs is the rare double drag king bill you could plausibly take your grandmother to. It's genteel, well-crafted, mostly sexless and frequently dull - a movie that, like its title character, never quite dares to let itself discover what it really wants to be.
  7. It more or less works.
  8. For everything the movie gets right--most notably the impressively pared-down script by Joe Penhall and the two truthful and fearless performances from Mortensen and McPhee--there's a corresponding painful blunder, like the overwrought score from Nick Cave.
    • 51 Metascore
    • 50 Critic Score
    Nobody does visually pleasing, occasionally funny escapist entertainment about goodhearted rich people trying their best to do the right thing better than Nancy Meyers.
  9. Swinton is good enough to take your mind off the not-too-compelling ambiguities.
  10. At times, you could actually mistake Tears of the Sun for a blunt modern parable instead of an opportunistic mixture of up-to-the-minute atrocities and old-fashioned corn.
  11. The first hour is evocative and creepy...But once the trajectory is clear and the squeamish New York intellectual Quaid has to stand up and fight for his homestead, the boringness seeps into you like the damp.
    • 45 Metascore
    • 50 Critic Score
    With this genial bunch, and the occasional good line, there's no reason not to see The Break-Up, but there's also no reason, assuming the date is going well, not to skip it and order dessert.
  12. This is ho-hum, straight-to-video material. And yet, even at its most crawlingly linear, Jackie Brown is diverting. If nothing else, I was diverted by the director's gall at stretching out those vacuous scenes.
  13. Brutally exciting and sometimes brutally inept.
  14. The parents are the casualties of Mills' misplaced sincerity, which makes Thumbsucker the quintessential misadapted head-scratcher.
  15. Michael Fassbender's portrayal of Brandon, the rootless Manhattan sex addict in Steve McQueen's Shame, may lay claim to this year's title of most outstanding performance in a mediocre movie.
  16. You have to admire a movie that endeavors to moosh together every successful cross-cultural action picture ever made.
    • 59 Metascore
    • 50 Critic Score
    Limitless is frustrating, in part, because it could have been much better.
    • 67 Metascore
    • 50 Critic Score
    The new movie of Selena's life ponderously carves each element of the myth in stone, as if this 23-year-old were a bust to be included on Mount Rushmore.
  17. This Brighton Rock doesn't live up to the greatness of the novel (or even, really, the very-goodness of the 1947 movie), but it doesn't betray Greene's book either, which may be all a reasonable reader and filmgoer could ask.
  18. The movie becomes more and more lugubrious, finally ending on a note of high-tragic operatic bathos.
  19. This is a bleak, unresolved film, with no release. What keeps it from being a mortal bummer is the music-exquisite sacred choral works, plus Mozart.
  20. The film is too metronomically paced for Kilmer's routines to develop any rhythm. The direction by Phillip Noyce is fluid but impersonal. Endless studio tinkering seems to have dissolved its spine.
  21. Ultimately, Inland Empire left me angry at David Lynch, but it was the kind of intimate anger you feel when disappointed by someone you love. If you can tolerate its lack of narrative cohesion, Lynch's film will continue to reward you with visual and auditory surprises right up till the end.
  22. Less a movie than an extended re-enactment from a History Channel documentary, the movie is stagey, preachy, and long on exposition.
  23. The only moments of conviction come from an Asian-American dominatrix called Pearl (Lucy Liu), who brings far more glee to the task of beating people up than the picture's star or director. If the audience could have half as much fun as Pearl is having, Payback would be a kick.
  24. Johnson rips off a lot of "Batman," especially in the cathedral climax, but that's not so bad: The movie looks best when it looks like other, better movies.
  25. Sporadically funny but uneasily revisionist screwball comedy.

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