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 Cave of Forgotten Dreams
Lowest review score: 0 The Amityville Horror
Score distribution:
1648 movie reviews
  1. What the film does have is coruscating anger, impish wit, and a breathtaking style.
  2. Transcends its murkiness and eats into the mind. Cure is what ails you.
    • 72 Metascore
    • 80 Critic Score
    Straight Outta Compton is, undoubtedly, a nostalgia trip, but, this being NWA, it’s one you take in a ’64 Impala with height-adjustable suspension. It’s a loud, stylish ride.
    • 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.
  3. 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.
  4. 2012 isn't a bad movie that, out of sheer boredom, you might snicker at once or twice; it's a two-and-a-half hour laugh riot that plays on our expectations of the genre by anticipating and exceeding them.
  5. 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.
  6. A minimalist exercise in maximalist suspense.
  7. Though it’s just slightly over two hours long, The Wind Rises has the historical sweep of a David Lean picture, complete with panoramic shots of migrating populations against a background of disaster and a romantic orchestral score by Miyazaki’s longtime musical collaborator, Joe Hisaishi.
  8. The Social Network wants to be a social satire, a miniaturist comedy of manners, and a Greek tragedy; it bites off a lot, at times more than it can chew. But even the unmasticated morsels are pretty tasty.
  9. No wonder Hawke was so hot to pass the script onto Linklater. He's superb, by the way.
  10. Based on a horrifying real-life case that took place in the Moldavia region of Romania in 2005, Beyond the Hills can be seen as both a critique of patriarchal religious systems and an allegory about the tension between secularism and faith (as well as a precisely and painfully observed portrait of one particular friendship).
  11. Her (Reichardt's) juxtaposition of imponderably vast landscapes and regular-scale individual lives is what gives Certain Women its mood at once of delicate restraint and of moral gravity.
    • 72 Metascore
    • 80 Critic Score
    Ultimately, though, it’s Doctor Strange’s return to its protagonist’s long lost psychotherapeutic roots that works best.
  12. As an intimate chamber piece with pitch-dark subject matter, James White could only avoid bathos by featuring two actors at the top of their game, alive not only to the inner worlds of their own characters but to the shared world they both know they’re on the brink of losing.
  13. 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.
  14. An old-fashioned movie-movie, the kind that's substantial enough to go out to dinner after and discuss all the way through dessert.
  15. Submarine isn't a perfect film, but it's a terrific first one.
  16. The director, Sacha Gervasi, is a fan first and a documentarian second. If Anvil! has a flaw, it's that it's too enthusiastic, a reverently uncritical valentine to the director's adolescent heroes.
  17. One thing that Loving gets right in a way that few civil rights dramas do: It insists on racial discrimination as a systemic problem, not merely an interpersonal one.
  18. Like Ghibli’s classic films, especially Hayao Miyazaki’s, it lavishes as much attention on the natural world as the creatures who inhabit it. But though it has the shape of a fairy tale, The Red Turtle’s perspective is distinctly adult, and its vision of nature is harsher than Miyazaki’s.
  19. Soul Kitchen is sprawling, undisciplined, raucous, occasionally crass-and so full of life you forgive it everything.
  20. But Cate Blanchett ... ahhhh. She doesn't impersonate Katharine Hepburn, she channels her.
  21. This installment is all about the grown-up kids. The three young leads - especially Emma Watson, who can do more with a still face than any actress her age - are all terrific
  22. Sensationally made and in patches pretty nerve-jangling.
  23. Hackman gives the con-man lines a simple, straight-ahead urgency that makes the man first hilarious and then, as the pleasures of human company are withdrawn and his resentment begins to bubble up, inexplicably touching. This is a great performance.
  24. The whole movie, of course, is a setting for its jewel, Catalina Sandino Moreno as Maria: With her clear, round eyes, long dark hair, and radiant transparency, she brings to mind two of the loveliest ingénues of the last quarter-century -- Meg Tilly and Jennifer Connelly.
  25. The movie is both clever and ruthless at exposing the ratings board's inconsistencies and hypocrisy.
  26. Private Parts is so riotous that you almost don't remember how unfunny Stern can be on his radio show.
  27. Powerful and then some.

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