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. Despite the defeated tone of Patricio Guzmán's tales, a spotlight is placed on the power of persistence.
  2. Stephen Winter's film doesn't earn the gall it evinces by pissing on Shirley Clarke's masterpiece.
  3. One wishes that S. Craig Zahler had more explicitly faced the cultural demons lingering within his premise, attempting to exorcise them.
  4. The film is a compelling addition to Sebastián Silva's cinema of compassionate comeuppance.
  5. Sion Sono's film imagines gangs not as rebels without a cause, but a lost generation of displaced, poisoned youths.
  6. Laurie Anderson condenses contemporary, human experience to the point where exterior and interior are made indistinguishable from one another.
  7. It offers a CliffsNotes encapsulation of Edgar Allen Poe's most enduring works for viewers unacquainted with them.
  8. It can't develop themes because it's too busy disseminating information, and this extends to its main characters.
  9. Less a character study than an impressionistic portrait of a troubled artist's internal chaos, it supplies just enough Miles Davis to leave us jonesing for more.
  10. Guillermo del Toro's fussiest, most compartmentalized construction, filled with the most powerful sense of repression and delusion.
  11. Both Olivia Wilde and Luke Wilson understand the greatest pain of loss to be rooted in its searing inexpressibility.
  12. The film lacks perspective beyond a rather limited preoccupation with the details of Hunter's personal life.
  13. The film, never sensational or saccharine, is a tough but tender tribute to the creative power of maternal love.
  14. Some of the wittier one-liners and more affecting emotional moments feel undermined by the frenzy of chaotic excess.
  15. Cary Joji Fukunaga’s artistry registers less as psychological imprint than as a measure of his professional bona fides.
  16. There's satiric potential here, but Eli Roth's sense of humor abandons him when his hero isn't about to get down with the get down.
  17. Pan
    Whatever drugs director Joe Wright may or may not have been on when he wrestled Pan to the ground, pulverizing the material into a quivering mound of monkey-bread dough, you can trust that they were synthetic. Not a single emotional moment in this entire origin story for J.M. Barrie's Peter Pan, Captain Hook, and Neverland feels organic.
  18. The Treasure is no thriller, but there are moments here that inculcate the stakes with prisoner's-dilemma paranoia.
  19. The allure of the road not taken and Saoirse Ronan's performance exert a powerful pull.
  20. This is activist filmmaking that manages to be both angry and elegiac in its recounting of the 2014 Ukrainian revolution.
  21. It lobs a grenade at slasher-movie sadism by making us care about the characters as more than just body-bag fodder.
  22. One can chart the very moment that Victoria's existence slips out of the routine into the nightmarish, and there's no escape by temporal omission.
  23. It may look like a dream, but it plays like someone reading a congressional report on corporate finagling out loud.
  24. The film functions as a love letter to Pakistan, despite the misogynistic culture it exposes.
  25. It leaves room for a few flights of fancy where the lack of verisimilitude feels less like screenplay filler and more like unabashed poetic license.
  26. The film doesn't add up to much, but it's a diverting tour of Takashi Miike's anything-goes, splatter-paint sensibility.
  27. Director Stephen Daldry, working from an exploitative script by Richard Curtis, opts for a full-on Slumdog Millionaire imitation.
  28. It displays a staggering propensity for examining its unauthorized scenario without succumbing to either too insular or too general a set of assertions.
  29. The screenwriter's signature verbal-diarrhetic dialogue allows for a nonstop blaring of actorly chops that, like the movie at large, is nothing if not committed.
  30. As a writer and director, Rebecca Miller is at her best when she finds the shared wavelengths of her lead cast's divergent styles.

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