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 The Kids Are All Right
Lowest review score: 0 The Amityville Horror
Score distribution:
1648 movie reviews
  1. A passably diverting entry in the Tarantino genre of splatter and yuks and soulfully bumbling hit men.
  2. If The Lovely Bones, at least for this critic, fails, it's certainly not for lack of metaphysical gumption...It's when the movie returns to earthly life, the prosaic world of suburban cul-de-sacs and family relationships, that it falters.
  3. For all sort of reasons, I was disappointed that there is barely anything of Bruce McGill as the family's hearty swindler. And there is too much of Sarandon, whose big scene--a speech at her late husband's memorial service, complete with jokes and a tap dance--is the movie's most egregious misfire.
  4. Neither Alex Murphy’s internal moral conflict nor the larger, vaguely satiric portrait of a global culture dependent on high-tech law enforcement seem to be the main point of this Robocop remake, which raises the question of what is meant to be the point.
  5. This is one of Penn's punishing, single-dimension performances, and it seems to be even more whiningly masochistic than what's called for in the script.
  6. Given all its World War II references and parodies, the best audience for Valiant would be addled, octogenarian ex-RAF pilots in the old folks' home.
  7. For a movie about the tumultuous friendships among artists, musicians, and filmmakers during one of the 20th century's periods of creative ferment, Factory Girl is remarkably incurious about cinema, music, and art.
  8. Baby Mama is the most disappointing movie of the year so far--which, granted, isn't saying a lot in mid-April.
  9. A second-rate but bearable black comedy.
  10. With The Fate of the Furious, it feels like the movies have gotten as big as they can get, and the gleeful absurdity that drove them is losing ground to the specter of obligation.
  11. The title is so genius! My standards were so low! All this movie needed to make me laugh were four guys in a Jacuzzi, a fuchsia/turquoise color palette, a steady stream of dumb jokes, and a little bit of heart. Unfortunately, the missing ingredient is the last.
  12. Not even the actress' soulfulness can save the generic climax, in which she tussles with the badder bad guy on a collapsing terrace above a crashing surf. As a colleague muttered, "Murder by numbers is right."
  13. Howard might be a major actor. His DJay, though, is a major character in search of a major author.
  14. The movie is OK for a January horror picture, but given the premise and the cast--it should wring you out emotionally as it's scaring you witless.
  15. This thin, floppy comedy never quite became the high-spirited summer sex romp it clearly set out to be. I haven’t quite figured out yet why The To Do List doesn’t work, when so many elements within it seem to.
  16. It's a charcoal draft of a movie -- magically allusive on some levels and utterly opaque on others, a strange combination of the overexplicit and the unwritten.
  17. Crowe gets to use his real Aussie voice, which works better with that poker face, and his underplaying at times has a psychotic intensity. But Ryan looks dopey when she's supposed to be stressed-out.
  18. An unambiguous celebration of the state of preadolescent fixation. The movie is perhaps best understood as a 12-year-old boy: You want to give it a hug and then yell at it to pick up after itself.
  19. 9
    Danny Elfman's swooping orchestral soundtrack only adds to the sense of by-the-numbers familiarity. Elfman's signature sound is so associated with Tim Burton movies that it overwhelms this film's chances of carving out an aesthetic space of its own.
  20. Has anyone involved in this disaster ever heard a real story?
  21. Passable--just.
    • 17 Metascore
    • 50 Critic Score
    I'll say this for Human Centipede 2: Tom Six has done the impossible. He's created a sequel that's several orders of magnitude more vile, more nihilistic, and more repellant than the original. And he didn't even need to change the premise.
  22. Marathon of misery.
  23. The preview—if that's truly what it is—has a beginning, a middle, and an end; a host of good lines; and so many goofy surprises that it's hard to believe that there's anything more to see in the picture itself. I mean … they wouldn't show you the entire movie in the coming attraction, would they?
  24. It's too bad that halfway through, Collateral turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he's lousy at action.
  25. Anger Management is bearable up to its protracted climax, set in Yankee Stadium, which gets my vote for the most excruciating wind-up of any comedy, ever.
  26. A viewing of The Hottest State is likely to conclude with a crosstown sprint of a different kind: As soon as the credits start rolling, you can't wait to get out.
  27. Though Carano isn't without a certain glowering charisma, her flat line readings and apparent discomfort with dialogue-heavy exchanges make her seem like a refugee from a different, schlockier movie, the kind of low-budget, straight-to-video MMA rock-'em-sock-'em that might pop up on late-night basic cable and charm you with its rough-hewn amateurism and animal high spirits. As Haywire's long-seeming 92 minutes limped by, I found myself wishing I was watching that movie instead.
  28. Despite glimmers of wit and a hipper-than-thou cast, it's painstakingly smug, and smaller than the sum of its parts.
  29. Tomorrowland is a highly original, occasionally even visionary piece of sci-fi filmmaking, but that doesn't necessarily make it a good movie.

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