Slant Magazine's Scores

For 7,798 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
7798 movie reviews
  1. The film’s slice-of-life scenes are generationally accurate representations of everyday life, but they aren’t given the narrative or dialectical form to actually say much about that life.
  2. Toy Story 5 leans into the sentimental beats that are familiar to the series, except those moments too often give the film the feel of a PSA aimed at convincing parents to monitor their kids’ screen time.
  3. Hugh Jackman’s take on a fabled friend of the poor may empty his veins, but the film might have meant more had he spilled his guts.
  4. Delivered from the heights of personal and professional validation, the great prophet of Hollywood’s sermonistic latest is akin to a detached, rambling, and academic exercise that treats cinema and humanity as a great and curious jigsaw puzzle.
  5. With one foot planted in documentary exposé and the other in coming-of-age drama, the film falls short of satisfying the demands of either genre.
  6. Arrhythmic, unfocused, and forgetting to breathe, this overstuffed film feels like a circus act, a well-dressed elephant on a unicycle juggling a dozen balls. It’s an impressive feat of dexterity, if not grace.
  7. At some point before the truncated-seeming finale, the film is just chasing its own tail.
  8. The film doesn’t totally succeed in capturing the show’s scope or thematic through line.
  9. Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.
  10. Like the fraught relationship between its two musician characters, the film never finds the right groove.
  11. For a film that’s so well versed not only in the genre but in its tendencies to recreate and recycle itself, it’s disappointing to see Faces of Death do so in such slavish fashion.
    • 50 Metascore
    • 50 Critic Score
    This is a film that’s content to imitate its influences rather than build an identity of its own.
  12. For all its empathy, Late Shift upholds the dubious virtue of self-sacrifice that underpins the Protestant work ethic.
  13. It falls well short of providing any satisfying exploration of its weighty theme of persuasion versus violence in the face of oppression.
  14. One senses that Rod Blackhurst knows that Dolly is undernourished, but his attempts to jazz it up by splitting it into transparently titled chapters only calls further attention to that dearth of imagination.
  15. Like Mike’s modus operandi as a criminal, the film goes through all the pro forma motions.
  16. Like a particularly impressive aspic, Wuthering Heights is tantalizing to behold but not so easy to swallow.
  17. The film gets too caught up in concern trolling about the sexual timidity of today’s youth.
  18. Farce and sincerity make more odd bedfellows across Aidan Zamiri’s meta mockumentary about Brat Summer.
  19. The Bone Temple doesn’t pack the moment-to-moment kineticism of the prior films.
  20. Greenland 2 plays out as a much more generic thriller than its predecessor.
  21. If only the filmmakers had put the same care and thought into their human characters, then Primate might have been worth going apeshit over.
  22. There’s a thoughtful zombie tale with its own distinctive personality lurking somewhere within We Bury the Dead, but it’s overridden by the film’s more generic elements, and that identity ultimately gets lost among the horde.
  23. Regrettably, the one star of Anaconda that gets the shortest shrift is the most important one: the snake.
  24. The crystal clarity of Russell Carpenter’s cinematography is often unnerving, as is the uncanny nature of Pandora’s computer-generated flora and fauna, which never truly seem alive and vital.
  25. Song Sung Blue is content to pendulum-swing from triumph to tragedy and back again with all the self-control of a drunk driver.
  26. Watching actors interact with an authentic recording of a child on the brink of death is less an invitation to audiences to wrestle with the horrors of war and more with the ethics of the film’s creative choices.
  27. The optimism that Ella preserves as she takes life one day at a time is compelling enough that it’s hard to get too mad about how shallow the world around her can seem.
  28. On paper, anime master Hosoda Mamoru’s Scarlet sounds positively electrifying.
  29. WTO/99 sets out to correct misrepresentation by corporate media about the aims of the movement, but that attempt is hampered by the recycling of much of the same news footage from news broadcasts.

Top Trailers