Slant Magazine's Scores

For 7,786 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:
7786 movie reviews
  1. Alex Gibney uses archival and Broadway footage so seamlessly that telling the difference between reality and recreation becomes not only difficult, but one of the film's central metaphors.
  2. Never once does it project an intuitive understanding of how humans would behave or react in the midst of such a shattering misfortune.
  3. The result isn't drama so much as a waking nightmare of play-acting and predestined doom.
  4. Joe Swanberg's films have grown into a reliable relief from the competitive, dehumanizing freneticism of much of American culture, marked by an affirming and understated sense of decency.
  5. James Franco's general aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
  6. This is less a movie than a dutiful renewal of a recognizable title's licensing rights.
  7. Falls back on the trappings of the film's innumerable teenage gross-out forefathers with tiresome vulgarity and rote misunderstandings in place of genuine insight.
  8. The film fluctuates haphazardly between semi-serious reverence and tongue-in-cheek camp, with no shortage of opportunities for the inevitable Rifftrax accompaniment.
    • 77 Metascore
    • 75 Critic Score
    Breillat's scripting of Maud as fatally distant from her family, willfully independent, but more believably abandoned, is haunting.
  9. Vulgar auteurist Luc Besson finally commits wholeheartedly to his decades-long preoccupation with waifish young women discovering their inner Shiva, spinning the concept out to its most delirious possible extremes.
  10. A film of obvious characterizations and even more obvious plot machinations that render its moment-to-moment charms moot.
  11. Just as Michael Douglas doesn't have it in his guts to make Oren a real son of a bitch (a grandpa Gekko), Diane Keaton's jangled neurotic tics lack any dramatic import.
  12. Jonathan Demme makes loving sport of the trust his actors have clearly placed in him, erecting for them a monument to the joys and terrors of walking an emotional high wire.
  13. It offers a realistic portrayal of Momo's emotional state, but this comes at the expense of a deeper exploration into both the story's lush supernatural landscape and its inhabitants.
  14. Anton Corbijn constructs a stifling world of shadowy surveillance and intersecting national interests, building on John Le Carré's sense of moral and emotional exhaustion.
  15. Most disheartening is how the female leads aren't given ample space to develop as dynamic characters beyond the most urgent confines of the script's scenarios.
  16. This is a rare War on Terror military exposé, one almost exclusively interested in the hearts and minds of low-ranking soldiers.
  17. It keeps us at a remove that becomes telling of the filmmaker's reticence to explore whatever feelings of isolation and yearning may inform his main character's grisly compulsion.
  18. The film is impersonal and populated with wisps of characters who spend most of the running time wandering around in the dark yelling at one another.
  19. The doc is heartwarming, but it doesn't delve deeply into the backstories that inform the ailing patients' connection to the music that stirs their memories.
  20. It's not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
  21. By the time a blackmailing plot is introduced, the film seems to be surviving solely on the fumes of curse words and frequent shots of Jason Segal and Cameron Diaz's backsides.
  22. DeMonaco may doubly, sometimes triply, underline the story's governing theme of social power and how it's exchanged, but the rage and lucidity of these ideas resonate.
  23. Between their wildly different bodies of work, a shared appeal emerges: to stop, look, listen, and consider not just what's in front of you, but also where it came from and where it might be going.
  24. It's hard to see the fiscal woes at the center of Zach Braff's second feature as anything more than a fashionable depiction of first-world problems.
  25. There's no attempt to convince us that the world is being corrupted by people who haven't accepted the Gospel; it merely assumes we agree with that idea.
  26. The characters, the sets, and the scenes all exist to propagate the notion that pleasure derives from repetition and remediation.
  27. It treats its characters as placeholders for philosophical arguments and spends the majority of its running time trying to "solve" existential mysteries without adequately exploring them.
  28. The director diligently keeps her heroine's ego in check, and that's awfully principled of her, but her audience may feel as if they've inadvertently booked a trip with no destination.
  29. Jeremy Snead's doc comes off more as a commercial for a grand, overarching product that isn't finished being developed.

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