For 7,776 reviews, this publication has graded:
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33% higher than the average critic
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3% same as the average critic
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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: | Mulholland Dr. | |
|---|---|---|
| Lowest review score: | Jojo Rabbit |
Score distribution:
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Positive: 4,350 out of 7776
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Mixed: 1,493 out of 7776
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Negative: 1,933 out of 7776
7776
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Clayton Dillard
The film's troubled aesthetics are exacerbated by a screenplay that contains the trappings of amateur toil, including dialogue that harps on innocuous moments and trifling exposition.- Slant Magazine
- Posted May 26, 2015
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Reviewed by
Chuck Bowen
Andrew Bujalski seizes upon physical training as a resonant metaphor for the work and risk that are inherent in cultivating significant interpersonal connections.- Slant Magazine
- Posted May 26, 2015
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Reviewed by
Clayton Dillard
If the documentary isn't quite dynamic in its revelations, it's considerably more so in its challengingly essayistic presentation.- Slant Magazine
- Posted May 22, 2015
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Reviewed by
Wes Greene
It effectively implies that the subjects' troublemaking is the stuff of transience, a phase before they're ushered into the realm of adult responsibility.- Slant Magazine
- Posted May 22, 2015
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Reviewed by
Nick Prigge
The film settles into a time-honored groove of so many forgettable juvenile comedies before it.- Slant Magazine
- Posted May 22, 2015
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Reviewed by
Clayton Dillard
It's the cinematic equivalent of a pat on the back accompanied by a slap in the face.- Slant Magazine
- Posted May 22, 2015
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Reviewed by
Christopher Gray
In Brad Bird's film, the way forward is backward, on a path that stumbles into misplaced nostalgia and dicey humanism.- Slant Magazine
- Posted May 20, 2015
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Reviewed by
Chuck Bowen
Tom Six has achieved the seemingly impossible: He's made a film even less watchable than "The Human Centipede II."- Slant Magazine
- Posted May 19, 2015
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Reviewed by
Wes Greene
Yael Melamede doesn't dwell on each of her subjects' stories beyond the condensed version that's related on screen.- Slant Magazine
- Posted May 18, 2015
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Reviewed by
Elise Nakhnikian
A neatly balanced tragicomedy about the easily blurred line between assisted living and assisted death.- Slant Magazine
- Posted May 18, 2015
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Reviewed by
Clayton Dillard
Transparently wearing metaphors on its singed sleeves, the film shuttles around courses of meaning and significance without committing to any.- Slant Magazine
- Posted May 18, 2015
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Reviewed by
Wes Greene
First-person accounts from individuals most affected by the drop in agricultural productivity are rarely the focus of the film's vision.- Slant Magazine
- Posted May 18, 2015
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Joseph Jon Lanthier
Despite all this macabre torment, It's Such a Beautiful Day involves a lot of sweet, plucky humor that represents a discreet softening of the angry sarcasm for which Hertzfeldt has become known.- Slant Magazine
- Posted May 18, 2015
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Reviewed by
Kenji Fujishima
It may be described as a Yasujirô Ozu drama done in the Romanian style; if only there was more to distinguish it beyond such extra-textual concerns.- Slant Magazine
- Posted May 17, 2015
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Reviewed by
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Reviewed by
Clayton Dillard
The film at first plays like a refresher and throwback to Hayao Miyazaki's Kiki's Delivery Service, before revealing itself to be less minimal than minor.- Slant Magazine
- Posted May 17, 2015
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Reviewed by
Nick Prigge
It depicts counterculture where those stranded outside the barriers of conventional society seek to push past natural boundaries to intermingle with the metaphysical in midair.- Slant Magazine
- Posted May 17, 2015
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Reviewed by
Jesse Cataldo
The film's images, so continually heartrending so as to never become redundant, effectively function as visual proselytizing.- Slant Magazine
- Posted May 17, 2015
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Elise Nakhnikian
A good story, full of life and related with intelligence and a sense of humor.- Slant Magazine
- Posted May 17, 2015
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Reviewed by
Steve Macfarlane
The film feels utterly infatuated by the cop/crook dividing line long-since drawn, if not flogged, by Michael Mann.- Slant Magazine
- Posted May 15, 2015
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Richard Scott Larson
Even stronger than its predecessor, which didn't quite go as far in terms of representing these young women in a wider context.- Slant Magazine
- Posted May 12, 2015
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Reviewed by
Eric Henderson
George Miller orchestrates the rubber-burning pandemonium with the illicit smirk of someone who knows he's giving us exactly what we want.- Slant Magazine
- Posted May 12, 2015
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Elise Nakhnikian
Highly polished yet never quite slick, it devolves now and then into cartoonish cutesiness with its broadly drawn minor characters.- Slant Magazine
- Posted May 11, 2015
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Reviewed by
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Reviewed by
Kenji Fujishima
It weaves through past and present, memories and reality, analysis and history, like a mercurial mind reminiscing seemingly at random.- Slant Magazine
- Posted May 11, 2015
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Reviewed by
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- Critic Score
Overall, the film's educational prerogatives tend to overwhelm its more interesting formal properties.- Slant Magazine
- Posted May 11, 2015
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Reviewed by
Carson Lund
It sticks firmly to a Kerouac-lite immersion into young love rather than a more provocative portrait of the hazards inherent to modern urban life.- Slant Magazine
- Posted May 11, 2015
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Reviewed by
Wes Greene
The doc emerges not so much as a glimpse into the mind of a dying artist than as a factual drama on how loved ones are impacted by an individual's death.- Slant Magazine
- Posted May 11, 2015
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Reviewed by
Chuck Bowen
It has a problem that's familiar to competently made, sporadically involving crime procedurals: It's just good enough to inspire wishes that it were better.- Slant Magazine
- Posted May 10, 2015
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Reviewed by
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Reviewed by
Clayton Dillard
Never is there an Iranian perspective on the proceedings, giving the documentary the jingoistic bent its title implies.- Slant Magazine
- Posted May 10, 2015
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Reviewed by
Oleg Ivanov
The documentary takes an equivocal stance, implying that just because a film should not be shown doesn't mean that it should be banned.- Slant Magazine
- Posted May 10, 2015
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Reviewed by
Ed Gonzalez
A pageantry of pseudo-art poses, a self-consciously cool reorientation of the western as silly symphony.- Slant Magazine
- Posted May 10, 2015
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Reviewed by