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. Even at 74 minutes, the documentary comes to feel arduous in its recycling of the same points and imagery, the filmmaking as plodding as its subject is polished.
  2. The titular signal refers to the Nomad hacker's taunts, though it may as well point to the film's nature as a self-styled calling card.
  3. This is a film about the invisible things passed down from generation to generation, that nasty inheritance that cages us into patterns and puzzles we try to solve in someone else's name.
  4. Lukas Moodysson's film allows its trio of girls to express themselves through gender, certainly, but not undermine their desire to be heard as artists first.
  5. It becomes clear pretty quickly that Mike and Carlos Boettcher's insider perspective allows for close to no context beyond what their cameras directly capture.
  6. Ultimately, the film is too nihilistic to believe its protagonist can be saved, declaring him a lost soul and satisfied to let him suffer.
  7. The result is an alternately gripping and dully meandering patchwork of these soldiers' stay in the Korengal that pointedly shuns big-picture philosophizing.
  8. Greatly cognizant of the revenge genre's penchant for hypocritical demagoguery, director Arnaud des Pallières unsettles the audience's usual feelings of vicarious blood lust.
  9. Like many films that contrast the simplicity of a rural community against the confusion of city life, The Grand Seduction exhibits a patriarchal, xenophobic attitude.
  10. It defines Manoel de Oliveira's late period, during which his movies have continued to shrink in size and scope while remaining thematically expansive.
  11. It only conveys the awesome strangeness of its characters and their universe when director Brian Singer breaks away from the perpetual build-up of the film's unwieldy plot.
  12. Robin Williams once again proves he can insufferably crank the energy to 11 without batting an eye, only this time his frenzied comic demeanor is replaced with equally harried contempt.
  13. Mahdi Fleifel's usage of a domestic archive of home-video images inherited from his father lends the doc a simultaneous sense of historical gravitas and intimacy.
  14. The filmmakers only bother to lay out comedic set pieces that are simply family-friendly big-budget variations on Jackass stunts.
  15. The unbalanced appraisal of Vidal's life and work in Nicholas Wrathall's documentary diminishes the effect of the writer's engaging dissension of American political policy.
  16. Alejandro Jodorowsky never manages to transcend the sense that he's indulging himself and participating in a hollow introspection unworthy of his prior cinema.
  17. The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
  18. At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
  19. We're simply presented a person in trouble, and we're allowed to recognize his problems as extreme embodiments of universal issues of terror, confusion, and loneliness.
  20. While Jim Mickle's compositions lose much of their verve in the film's later half, his regard for the analog does not--and at the expense of perspective into his characters' emotional torque.
  21. The film is too standard-issue in its making to probe beyond the rough outlines of a success story.
  22. In form, it's no wham-bam VFX sizzle reel replete with sputtering, ejaculatory climaxes. It's the magnificently sustained equivalent of Ravel's "Bolero," with nuclear warheads in place of timpani rolls.
  23. Nabil Ayouch's film allows us see how young suicide bombers--"horses of God," as the man in charge of their mission calls them--might deserve our pity.
  24. Red is the kind of lazily written, thankless curmudgeon role that uses the trials of advanced age for cheap laughs rather than harnessing a veteran actor's talent to engage our empathy.
  25. It falls into the trappings of middlebrow literary adaptation by finding only sporadic means to convincingly adjudicate the trauma and anguish of its transitory epoch.
  26. It pushes itself beyond shrill predictability in its willingness to indict the public and familial histories at its core.
  27. Cédric Klapisch's film becomes an effervescent variation on the time-honored story of striking out for the American dream.
  28. There are cheap shocks in the film, but there are also terrifying moments that poetically command our empathy.
  29. With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.
  30. The promo materials implore viewers to vote either #TeamFrat or #TeamFamily on Twitter, though the audience is way more likely to be split between #TeamPecEfron and #TeamByrneBoobsplosion.

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