Fun With Slate’s Hollywood Career-O-Matic

Fun With Slate’s Hollywood Career-O-Matic (photo)

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I’m good at my job because I’m eternally curious about the world of movies. And I’m bad at my job because I’m eternally curious about the world of movies. Once I find something about movies online, it’s kind of hard to stop looking at it. My doctor calls it “Internet addiction.” I call it my “mutant power.” We agree to disagree.

Today my obsessive tendencies have me playing with a new web page from Slate called The Hollywood Career-O-Matic. Basically Christopher Beam and Jeremy Singer-Vine used the movie review aggregation website Rotten Tomatoes to compile sets of data about working Hollywood actors and directors. When you enter a name into the Career-O-Matic, seen above, it spits out a line graph charting the ups and downs of that filmmaker’s critical reception over time. By moving the mouse over the points on the graph, you get pop-ups of the names of the movies, their release date, and their Rotten Tomatoes score. It’s a fun, user-friendly way to access the scope of a filmmaker’s career and to see, in an instant, what someone’s best and worst reviewed movies were (Michael Bay’s best? “The Rock.” His worst? “Transformers: Revenge of the Fallen.”).

But it gets much more interesting from there because you can plug more than one name into the Career-O-Matic, and compare two or more filmmakers’ careers side-by-side. For example, the graph above was actually the very first one I plugged into the Career-O-Matic: Arnold Schwarzenegger vs. Sylvester Stallone.


The results aren’t perfect; the Career-O-Matic doesn’t filter out cameos (something that would be apprecaited in a C-O-M 2.0), which means Schwarzenegger’s second best received picture is “Dave,” which he is barely in. And the database only goes back to 1985; meaning Arnold is spared the unflattering comparison of “Hercules in New York” versus “Rocky.” But it is still fascinating to compare these peers’ work in this way. The best reviewed picture either ever made during this period is “Terminator 2: Judgment Day;” while the highest score Stallone’s received came for his voice only, as an animated bug in “Antz.” It’s also interesting to observe how both of their careers cratered simultaneously in the mid- and late-90s, suggesting shifts in public taste for action films, and how they’ve enjoyed a slight resurgence in the last half-decade, suggesting a certain nostalgia for their style of films.

Okay, so I got the obvious out of the way. What’s next? How about this one:


Director versus director, brother versus brother, Ridley and Tony Scott. Again, we’re limited by our data starting in 1985 (meaning no “Alien,” “Blade Runner,” or “The Hunger”) but we do see similar gradual downward trajectories in both cases. At least until recently; it does seem the reevaluation of Tony Scott as something of a phantom auteur by certain artier sects of the critical community has begun to seep into criticism at large. While three out of Ridley’s last four films have been amongst the worst reviewed of his career (and the fourth, the dreadful “American Gangster,” received an impossibly generous score of 79), Tony’s stock is on the rise: after bottoming out with “Domino,” he rebounded with “Deja Vu” (which is inexplicably absent from his graph) and “The Taking of Pelham One Two Three,” then scored his best reviewed movie in fifteen years with last year’s “Unstoppable.” The numbers are so close between them I’m not sure who comes out on top. Someone get these two to dual it out in a vicious battle of slaps to determine the winner.

All right, one more before I lose all day to this thing.


Here we’ve got arguably the two biggest names in American independent film since the early 1990s, Quentin Tarantino and Steven Soderbergh. Clearly, Tarantino takes the match in terms of average score; other than the dark spot on his directorial career that is the anthology “Four Rooms,” Tarantino doesn’t have a film to his name that rates less than a 60. Soderbergh has a lot more critical flops (and his own poorly received anthology, “Eros”) but he’s also got a lot more movies, period. As you can see from the long stretch between dots on his green line, in the six years between Tarantino’s “Jackie Brown” and “Kill Bill: Volume 1,” Soderbergh made seven movies, including “Traffic,” “Eric Brockavich,” and “Ocean’s Eleven.” Also, it’s kind of surprising that the highest rated Tarantino movie isn’t “Pulp Fiction;” it’s “Reservoir Dogs.” I don’t know anyone who prefers the latter above the former, but that’s not necessarily the way Rotten Tomatoes works. They chart consensus, not passion.

I could go on and on with this thing. And I want to. But I’ll leave it here for now. It’s time for you to play with the Career-O-Matic for yourself. I’d love to hear some more comparisons in the comments section; maybe we can do a follow-up post later of the most interesting ones.

Got a good combination for the Hollywood Career-O-Matic? Tell us about it in the comments below or on Twitter or Facebook!

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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Draught Pick

Sam Adams “Keeps It Brockmire”

All New Brockmire airs Wednesdays at 10P on IFC.

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From baseball to beer, Jim Brockmire calls ’em like he sees ’em.


It’s no wonder at all, then, that Sam Adams would reach out to Brockmire to be their shockingly-honest (and inevitably short-term) new spokesperson. Unscripted and unrestrained, he’ll talk straight about Sam—and we’ll take his word. Check out this new testimonial for proof:

See more Brockmire Wednesdays at 10P on IFC, presented by Samuel Adams. Good f***** beer.

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