Slant Magazine's Scores

For 7,776 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:
7776 movie reviews
  1. Billy Ray unfurls the parallel time structure with the same flat, procedural monotony applied by Juan José Campanella to the original film.
  2. Billy Ray unfurls the parallel time structure with the same flat, procedural monotony applied by Juan José Campanella to the original film.
  3. It aims to foster a spirit of giddy anarchy in order to tie a ribbon around its shambolic script and rickety pacing.
  4. Given how Legend's script is so bereft of insight into its characters' psyches, perhaps there's only so much even an actor of Tom Hardy's stature can do.
  5. It careens from carnage to group therapy so wildly that the action never gets to build and the conversations just repeat themselves.
  6. It doesn't seem to aspire to much more than proving that there are nice, talented people behind the New Yorker's walls.
  7. A blunt satire of the dehumanization inherent in social media that also gets off on said detachment.
  8. The visible numbness and empty stares of the doc's three subjects painfully evoke years of being gripped by the war on drugs.
  9. In the simultaneously heady and lyrical The Creation of Meaning, we're obviously implicated in that comment, as the film views the meaning-making process as something malleable and dependent on perspective.
  10. Writer-director Alanté Kavaité's film is a string of softly weaved pictorial metaphors steeped in reverie.
  11. According to the film, individual misdeeds aren't the final enemy, but the byproduct of an unregulated regime.
  12. By negating more conventional, facts-first priorities, Mor Loushy creates an alternative historiography that's more meant to be felt than learned.
  13. The film is unwaveringly attentive to problematizing the dividing line between predator and prey.
  14. The actors have the showmanship to chew the lurid, shopworn material up to bits, savoring it like a Royale with cheese.
  15. The film punctuates the sisters' confinement with various episodes united by their contrivance.
  16. Sloppy and haphazard where it should be calculatedly chaotic, it can't ever seem to settle on an appropriate tone.
  17. The tacky and loose means by which the platitudinous screenplay dances around what ails the story's football players is just one cog in a whirligig of pat representations.
  18. All of the film's nuances are ultimately negated by the its relentless canonization of its subject.
  19. The film uses its critique of white privilege as a means to woo the legitimizing gaze of international audiences.
  20. It confronts the hard realities of a world in which few make it to maturity without their share of scars, and no one makes it out of adulthood alive.
  21. If it stumbles when it seeks our sympathy, it thrives when it's exploiting our fascination with the surface of things, and all that's unknowable underneath.
  22. The film doles out a shock or hits a (usually hollow) emotional note every few minutes with mechanical precision.
  23. The characters' marginalized social standing is less indicative of a real-life epidemic and more akin to window dressing.
  24. It highlights the potent dichotomies that, combined with Bergman's relatively unmediated beauty, made the actress luminescent both on and off screen.
  25. Lake Bell and Simon Pegg's star wattage isn't enough to distract from the sense that their characters are almost exclusively defined by their single-ness.
  26. Alison Bagnall and her talented leads appear to effortlessly achieve a tone that's tricky to sustain, one that abounds equally in absurdism and empathy.
  27. With the invocation of national allegiance as an inherent contradiction, the documentary blooms its larger, allegorical inklings.
  28. The film forsakes all ambiguity regarding McQueen's psychology by stubbornly defining him as a determined, charismatic womanizer.
  29. Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
  30. It winningly reflects how to utilize quiet understandings and, yes, very loud laughter.

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