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. The premise amounts to numerous raised glasses and classical music cues, but little of this schmoozing strikes a notable chord beyond the démodé back-patting engaged throughout.
  2. The film begins as a moodily introspective drama about grief before implausibly morphing into a stale thriller.
  3. The film ultimately understands poverty as a profound and often irreversible desolation of terra firma.
  4. The film turns out to instead be a strained trumpeting of the return of the proverbial king of the box office.
  5. David Gelb doesn't evince so much as a single compositional sleight of hand, merely delighting in turning lights on and off and watching Zoe appear in random places.
  6. It suggests that a disease isn't a product of one single person's body, but the eruption of an entire family history of unarticulated desire.
  7. Unable to reconcile plot with poetry, Bluebird is knitted-together by its sense of place and lived-in performances, yet unraveled by anemic false melodrama and overbearing music.
  8. The cogent character study nestled inside all the bombast remains crafty for its rare commingling of artful storytelling and genre nonsensicality.
  9. An unfocused mishmash that thrives only when it fixates on footage of actual bouts.
  10. A ferocious plea for character salvation within a milieu where money and bodily affect are the raison d'ĂȘtre for human existence.
  11. It masks depleted drama under a progression of long takes, various music cues, and a three-chapter structure that grows successively tedious.
  12. Its lack of dramatic specificity places it in a precarious middle ground between exacting character study and ethereal parable.
  13. Lawrence Michael Levine's film occupies a sweet spot between the self-aware and taut.
  14. Yet another boring ode to heavy breathing that's offered under the hypocritical pretense of celebrating female empowerment.
  15. Kirby Dick's films don't go far enough in explaining how a culture of rape can pervade in vastly different institutions, but they're ruthless about holding them accountable.
  16. The film achieves nothing more than hollow caricature, too caught up in dumb dress-up pageantry to accomplish anything else.
  17. The film deposits its heroine and everyone in the audience looking toward her for image-maintaining guidance back at square one.
  18. Josh Heald's script takes the easy way out, ending the film with a torrent of slapdash sentimentality.
  19. If there's a general air of emotional authenticity woven throughout all this garden-variety, faith-in-family hokum, it's in the racing scenes.
  20. The film's 90 minutes are a disorienting cyclone of destructive incidents and propulsive energy.
  21. In the end, Adam Green reminds us that he's all to eager to go for the easy thrill.
  22. The images gorgeously embody both the fear and the beauty of James's exploratory experiments with socialization.
  23. The film lacks an ability to construct significant instances of character drama as symbolic of larger concerns pertaining to nationalist dilemmas.
  24. Each of the six vignettes that make up this unusually energetic anthology pertains to the methods of calculated mass dehumanization that are (barely) hidden beneath the practices of social institutions.
  25. So flimsily constructed, visually and narratively, that it resembles a middle-school play that's been hastily filmed on an antique camcorder.
  26. Jamie Dornan somehow manages to render his sculpted beauty moot, which throws a major wrench in the gears for a film dependent on eroticism.
  27. It convincingly insists that the human figure is no more vital to the image than the rapidly shifting landscape it inhabits.
  28. The courtroom's cramped, near-featureless air of bureaucratic stagnation becomes oppressive even for the audience, making it easy to identify with Viviane's growing hunger for freedom.
  29. Director Kiah Roache-Turner's film is an excitingly efficient and ultraviolent zomedy.
  30. Any masochistic joy that can be derived from watching the film owes to seeing it take its bullheaded conceit to its logical, artless extreme.

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