Slant Magazine's Scores

For 7,792 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:
7792 movie reviews
  1. These are desperate times, but if Jon Stewart wants to tack toward a more Frank Capra vein, that’s just fine. We already have one Adam McKay.
  2. Steven Spielberg's West Side Story is at its best when it zooms in and settles down into character study.
  3. The film has an exciting, lived-in quality that elevates what are otherwise some markedly unsteady attempts at horror.
  4. The film’s orderliness of plot somewhat undermines the sense that the family at its center is steeped in a truly messy situation.
  5. The film’s reminder of the fragility of agrarian traditions in the face of a merciless profit motive is delivered with tact and subtlety.
  6. The film heralds the arrival a bold and formidable voice in horror cinema.
  7. More than effective in visualizing its protagonist’s disorientated state of mind, the camerawork may leave viewers feeling like they just stepped off of a merry-go-round.
  8. The film justly draws attention to the perpetual work that must go into preserving democratic institutions.
    • 56 Metascore
    • 63 Critic Score
    In the end, Verhoeven’s greatest irony, and the often pedestrian narrative’s most brilliant stroke, isn’t to decide in favor or against Martin. He’s of a piece with his nature, and he leaves the story as he entered it: unchanged and unbowed by the carnage he’s both witness to and agent of
  9. A methodical, if largely allegorical, exploration of its main character’s psyche, the film smooths out the enduring mysteries, opaque psychology, and narrative idiosyncrasies of its source material.
  10. The film functions as a handsomely mounted biopic that tells a little-known story with considerable passion.
  11. Dolls is still ultimately minor-key Gordon, exhibiting nowhere near the level of ambition or invention of many of his hot-house splatter classics, but it has been rendered with an artisanal level of craftsmanship that distinguishes it as an almost-hidden horror gem, ready for rediscovery.
  12. C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.
  13. Lost in so much bombast is the kind of story about its main characters’ lives that could’ve affirmed Spike Lee’s critique of America.
  14. The film has a weird, ghostly, even beautiful pull, but it functions mostly on theoretical terms because Charlie Kaufman has thought it to death.
  15. The film’s insistence on keeping the stakes low throughout is probably its key strength.
  16. While the film certainly lays out the dangers of technology run amok, it also sees its power to connect people.
  17. Jia Zhang-ke’s film is a quietly reflective, intermittently rambling rumination on an explosively momentous period in Chinese history.
  18. Eytan Fox’s film is a low-key observance of two men finding the beauty in each other’s mysteries and contradictions.
  19. Simon Pegg occasionally fulfills the nightmarish potential of the film’s fairy-tale premise.
  20. Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness.
  21. Despite the pretense of commentary, the film asks no underlying questions about the society that produces slasher films and revels in its narrative’s basic premise to numbing ends.
  22. 1BR
    The film gives palpable expression to the sense of hopelessness felt by those who fall under the control of cults.
  23. The film’s early scenes turn the stuff of paying bills and managing kids into manna for an unsettlingly intimate domestic thriller.
  24. Has the time come to ask if the pendulum has swung too far in the other direction?
  25. It isn’t without its pleasures and insights, but it’s ultimately little more than an excuse for Hong to try out a new stylistic color in his auteurist palette.
    • 79 Metascore
    • 63 Critic Score
    If not the screen’s ultimate portrait of space travel, For All Mankind remains a peerless planetarium show.
  26. Milestone’s direction is only sporadically inspired.
  27. The film never feels as satisfying or as haunting as its bow-tying epilogue strives for.
  28. Dave Franco has a mighty command of silence as a measurement of emotional aftershock.

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