Slant Magazine's Scores

For 7,789 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:
7789 movie reviews
  1. The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together.
  2. Gavin Hood wrings suspense out of the parsing of the nuances of evidence and the tapping of mysterious contacts.
  3. The film captures a man haunted by his past mistakes and nearly certain that he doesn’t have the time left to begin making up for them.
  4. It’s best appreciated not with the parts of your brain responsible for reason and judgment, but in the unthinking terror centers, where the film’s style of God-fearing fanaticism also resides.
  5. A wonderful high concept is compromised for another story of lonely people learning to connect.
  6. The action consistently snaps the film into focus, but it also further illustrates how badly the decision to split this narrative into two parts throws off the delicate rhythm that’s made Mission: Impossible arguably the most consistently entertaining American action franchise of all time.
  7. The second half’s series of hollow visual spectacles foreground the film as a corporate product.
  8. Claudio Giovannesi’s film is more an interesting tweak of Goodfellas than an eye-opening social statement.
  9. The portrait it paints of its Marines is appropriately discordant, redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission.
  10. For a spell, Melina Matsoukas’s film exudes the concision of an old B movie.
  11. The film’s improvisational feel helps to ground a fable-esque narrative in a discernible reality.
  12. It has almost enough genuine charm and heart to compensate for the moments that feel forced.
  13. Marc Maron’s commanding aura of regret gives the film, despite its missed opportunities, an emotional center.
  14. A taut genre exercise that delivers enough surprises and cleverly timed bits of humor for its sometimes familiar, uneven narrative beats to play an original tune.
  15. Alex Gibney’s documentary tells a dramatic, if somewhat workmanlike, story of Silicon Valley hubris meeting old-fashioned scamming.
  16. It would appear that some of Buddy’s humans have indeed written off their fellow people. Does this matter? Honigmann’s film doesn’t plumb this potentially resonant question, as it’s hesitant to look a gift dog in the mou
  17. The film’s refusal to commit to its passing fancies is a highly intentional and eventually tiresome declaration of Qui Sheng’s arthouse bona fides.
  18. While the film offers an appealingly nostalgic trance-out, it’s often short on detail, especially in terms of Stephen Herchen’s struggle to create the instant film technology, which director Willem Baptist reduces to exchanges of jargon in atmospheric laboratories.
  19. Its major contribution, as one museum curator suggests, may be to bring the works of Moshe Rynecki back into prominence.
  20. The film is a reminder of the potential of these films before they became weighed down by blockbuster-ready excesses.
  21. Despite glimpses of a larger critique of the American project in Afghanistan, it lets us escape from the horrors of war before it finishes demolishing the illusion of a clean one.
  22. After a while, the film’s not-strictly-linear structure and handheld camerawork come to feel like self-conscious signs of “gritty” realism, attempts at masking a certain conventionality.
  23. The anthology justifies Mick Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.
  24. Where When We Leave built to simple outage, this one concludes with a rush of complex, conflicting emotions.
  25. Sienna Miller lends credibility to a character that in other hands might seem like a caricature of the white underclass.
  26. Only in its giddily gory finale does the outrageousness of the film's violence come close to matching that of its plot.
  27. Pedro Almodóvar’s latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.
  28. Only Marisa Tomei’s face can compete with Isabelle Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.
  29. What's most stirring about Céline Sciamma's film is the lack of artifice in Héloïse and Marianne's feelings for one another.
  30. It’s at its best when showing how gangsters undermine their lofty notions of nobility with displays of narcissism.

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