Slant Magazine's Scores

For 7,779 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:
7779 movie reviews
  1. The film does keep the smirking undercurrent of the first half present in the more serious second, but, slowly but surely, it starts asking big questions about the nature of God, what measure of divinity lies in us all, and the value of basic humanity and grace in a world where God’s intervention isn’t a given.
  2. For a solid hour or so, the film is patient and tense, with just the right touches of levity and romance. Until, suddenly, it isn’t.
  3. It’s when the film plays in the gaps between sound and image that it’s most disturbing.
  4. Oliver Laxe goes full-on meta by casting himself in the role of a visiting moviemaker who travels to Morocco to shoot footage with disadvantaged children living in a shelter.
  5. The set pieces follow their own insane, unstoppable logic, with each new twist yielding its own outré surprises.
  6. The story has enough pathos to fulfill the expectations of a great tragedy, but the film feels like a commercial for something else entirely.
  7. Temple of Doom doesn't so much pay tribute to the serial adventures of yore as it does embody them. Here, frivolity and evil blithely coexist—and women are a lot more likely to scream than win drinking contests.
  8. The movie is unsurprisingly devoted to peddling up-and-comer Chris Thiele as something daring, something new.
  9. Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
  10. The film imbues a pessimistic view of the seemingly bottomless depths of human cruelty with sorrowful tragic force.
    • 57 Metascore
    • 50 Critic Score
    The film gets within striking distance of new territory for its subject matter but stalls out due to its pat storytelling.
  11. Across the film, director Augustine Frizzell balances a dynamic aesthetic energy with a generosity of spirit.
  12. The careful balance of “stupid and clever” that solidified the legend of the first film is less steady in its much-belated sequel.
  13. Miles Joris-Peyrafitte’s ultimately succumbs to melodramatic clichés and simplistic political demagoguery.
  14. Birds of Paradise lacks the nuance and finesse needed for its story to really take flight.
    • 57 Metascore
    • 63 Critic Score
    "Why are there so few black surfers?" That's the question posed by Ted Wood's incisive, if ultimately repetitive, documentary White Wash, and to answer the question the film digs deep into US political and social history.
  15. Donnie Yen's performance is so good that it's a shame Wilson Yip's films have never strived to be more than briskly entertaining hagiography.
  16. The film is neatly organized around not only the changing of the seasons, but a Disney-branded "circle of life" ethos.
  17. Pawlikowski has crafted a film that throbs with substantial personal weight and bristles with a violent, haunting interior life.
  18. The film neglects to find a conceptual framework for its prolonged consideration of Charlotte Gainsbourg’s eventual revelation: “I have always loved you, but it’s much clearer to me now.”
  19. The film abounds in excruciatingly obvious, often precious, articulations of grief, where armchair philosophizing volleys back and forth with punishing abandon.
  20. In the documentary, the game is a make-believe war of pent-up frustrations linking race, nation, and manhood, one which teenage boys named Mohamed can actually win.
  21. In the instances where it’s not going hard, Dicks is a surprisingly flaccid affair.
  22. A sense of anachronism is what provides the film with its melancholy heart.
  23. Mark Webber's stripped-down approach renders the messy, unglamorous lives at the film's center with dignity.
  24. A cheeky dream-drama about the friendship between a rich, white quadriplegic and a penurious black job-seeker, the premise of The Intouchables alone nearly renders analysis redundant.
  25. The romantic elements are secondary to what is essentially an astute and cleverly written dissection of a co-dependent friendship being gradually eroded by the incremental ravages of age, rivalry, and rapidly diverging personal arcs.
  26. Not even Bernardo Bertolucci's choice of a lead actor with visible facial acne scars, in a welcome gesture toward authenticity, is enough to overcome the gaping hole of psychological nuance at the center of the film.
  27. Michael Winterbottom’s film succeeds in translating the problematics of intercultural conflict into thriller fodder.
  28. In Antlers, the big bad is never supposed to be as scary as society’s collective wrongdoing.

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