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. János Szász's film is a thoroughly provocative WWII screed that almost deliberately goes out of its way to avoid sentimentality or bathos of any sort.
  2. Not quite a grim-dark reimagining of a cult favorite, this Road House is still a needlessly un-nice rework that takes the business end of a broken beer bottle to the soul of the original.
  3. 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.
  4. Chad Archibald doesn't quite land Bite's transition over from claustrophobic character study into full-blown monster movie.
  5. Given its played-out subject matter and hoary coming-to-terms narrative arc, one's ability to enjoy the film hangs on a tolerance for the ever-popular on-screen man-child.
  6. A mostly laugh-free, paint-by-numbers approach to a pair of former pros vying for relevance as they enter, kicking and screaming, into their mid 30s.
  7. Powaqqatsi is every bit as viscerally engaging though less provocative than its predecessor.
    • 57 Metascore
    • 63 Critic Score
    That’s the trouble at the center of the benign but tepid ganja-classic Up in Smoke: Its toking Abbott-and-Costello duo are so content to simply drift away in clouds of smoke that the audience is often left behind looking for the jokes.
  8. To his credit, Cimino renders us helpless not before carnage or greed, but before his epic’s breadth of motivation and circumstance. It’s not the past’s ugliness that terrifies us in Heaven’s Gate, but its far more intimidating immensity.
  9. In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul.
  10. A historical melodrama that retains an ancient, elemental pull even as it insufficiently charts motivation and the self-denying values of antiquity.
  11. The Tickells' style is a predictable grab bag of interviews with outraged experts and journalists, TV news footage, and scenes in which the filmmakers (and, during one trip, fellow activists Peter Fonda and Amy Smart) make faux-daring journeys into the fray to bring back supposed realities that corporate America seeks to hide.
  12. Its feminist perspective checkmates the frat-boy misogyny and machismo that too often mar films set in combat zones.
  13. The film’s masterful prologue writes a check that the remainder of this very long, very indulgent film labors mightily to cash.
  14. There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
  15. The documentary is ultimately a dry endeavor that feels closer in spirit to an Afterschool Special than a full-blooded movie.
  16. It works as both a modern morality play for our globalized world and as an indictment of Europe's ethical bankruptcy.
    • 57 Metascore
    • 50 Critic Score
    As though this ridiculousness weren’t sufficiently groan-inducing, the scenes depicting the mischief Brace wreaks on the corporation while he’s mid-hack undergo a bizarre tonal shift into Keystone Kops slapstick.
  17. Even as the shotgun shells start flying, it makes time for the quiet dramatic moments that carry its family drama forward amid the carnage.
  18. The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
  19. The film works because what it documents is less a transformation and more a return to a former, more natural state for its troubled protagonist.
  20. Uncle Drew, the old-school streetballer played by NBA all-star Kyrie Irving, is a cheerfully scruffy creation, and so is the film that bears his name.
  21. This frothy 3D concert doc often plays like a Perry ad campaign, assuring viewers that their "Teenage Dream" diva is a good, fun-loving person, and that, by God, she's doing fine.
  22. With its softened edges, bland aftertaste, and watered-down distillation of Raymond's life and career, Michael Winterbottom's film represents the house champagne of biographical cinema.
  23. The filmmakers take few measures to engender sympathy for Olga, but their prismatic take on her life, while novel, precludes making any resonant statements about homosexuality, emotional health, or humankind’s capacity for evil.
  24. Chris Skotchdopole’s feature debut is a tantalizing mix of the absurd and the mundane.
  25. Perhaps thrown by the challenge of having to direct women as men and not just as themselves, director Rodrigo Garcia turns in what may be his poorest effort to date, opting for a nearly airless tone, presenting a look that's sadly un-cinematic, and presiding over a collection of performers that seem to be operating on very different planes, and with accents of varying thicknesses.
  26. The film makes no attempt to embody the themes that form the core of Annie Ernaux’s story in its aesthetics.
  27. The film is somewhat flimsy, tinged with the impulse to make the elderly characters just the right amount of ridiculous for the benefit of younger viewers.
  28. The astonishing footage of apes in their natural environment is made perfectly accessible and then nearly undone by a narration track that plays to the audience's basest desires for gag-inducing cuteness.

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