Slant Magazine's Scores

For 7,775 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 6.3 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:
7775 movie reviews
  1. One of the more admirable traits of the original Bourne trilogy is how little pleasure it takes in its violence, but Jason Bourne revels in its vicious action sequences.
  2. By merely transposing its generic high school clique drama onto an augmented reality platform, Nerve sacrifices most of its novelty, but the filmmakers demonstrate a marginal interest in how this mediated environment warps the perspectives of its characters.
  3. A real yet illusory world is evoked so seamlessly that it also feels just one step away from pure cinematic fiction.
  4. Essentially a post-apocalyptic telenovela, it sanitizes the concept of sisterhood, and even womanhood.
  5. It becomes a bleak comic spit into the face of organized religion, organized society, and even organized narrative.
  6. James Schamus's screenplay is rich with culturally specific details that deepen these forking moral predicaments.
  7. Writer-director Steven Caple Jr.'s social-realist tendencies run up against some unconvincing genre elements.
  8. It has an irritating habit of depending on our natural reactions, letting the subject matter do the heavy lifting.
  9. The film slightly reorients our perspective on the familiar tropes of both the teen and apocalyptic genres.
  10. It highlights how the ownership of art serves as a marker of capital for distinguishing one institution over another.
  11. The film ultimately succeeds in offering a fresh female-centered perspective on its genre material.
  12. Relevant facts about each character are dutifully punched out, in earnest speeches or actions that are often wildly overdrawn.
  13. Few horror films are as insistent about the trauma mental illness inflicts on families as Lights Out, and still fewer are so insensitive about it.
  14. Stark Trek Beyond emphasizes the inter-personal dynamics of the USS Enterprise, and functions best as an extended team-building exercise.
  15. There's something to be said for a summer movie that offers up Chris Colfer as an unapologetic misogynist hairdresser.
  16. The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake.
  17. Brady Corbet reaches for a dreary self-importance akin to Michael Haneke’s The White Ribbon.
  18. Catherine Corsini depicts feminists in lighthearted ways, at once humorously caricatured and sensitively human.
  19. If Ice Age: Collision Course gleefully fails at being a history lesson, at least it offers an energetic recess from reality.
  20. When divorced of message-mongering, the film’s scare tactics are among the most distinctive that the zombie canon has ever seen.
  21. The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.
  22. It displays an intimate chemical understanding of the exhausting and unrelentingly impotent agony of failure.
  23. The film fails to lift off from this sturdy aesthetic launching pad; it never allows the characters, however stock, to evolve in their respective dealings with one another, which is the primary source of tension and escalation for a thriller set in a confined place.
  24. The film is an incoherent and aesthetically barren harangue masquerading as a revisionist history lesson.
  25. The film is premised on a radical act that it buries beneath a grueling avalanche of quirk.
  26. Demon offers a tidal wave of unrelieved longing and regret, with a devilish streak of absurdism.
  27. The filmmakers are thankfully willing to render, with unremitting vigor, how grief can batter the human heart.
  28. When it's good, this new Ghostbusters is funny, driven, sometimes even a bit scary.
  29. Its clunky incidents of exposition leave us with no real understanding of what anyone is thinking or feeling.
  30. Director Joe Berlinger essentially allows his subject to hijack the film for his own end.

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