Slant Magazine's Scores

For 7,789 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:
7789 movie reviews
  1. The film savors its obviousness and cruelty as badges of honor, reducing itself to a technical polemic.
  2. The film is subsumed by the unshakable sense that Jared Leto is intended to make Martin Zandvliet's take on the yakuza underworld more palatable for American audiences.
  3. The film's simple, redundant, but valuable moral lesson to its audience finds comfortable enough expression in an aesthetic that's banal but impressively consistent.
  4. It’s been said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman's film.
    • 60 Metascore
    • 50 Critic Score
    Unlike the red balloon that Winnie the Pooh follows through much of the running time, Marc Forster's film lacks lightness.
  5. The film is content to present Anton Chekhov's ideas rather than grapple with their provocative and complex subtexts.
  6. Seriously, watching Angela (and to a lesser extent Ricky) being targeted throughout the film is like watching a group of shrill brats shooting rocks at a baby bird—if it wasn’t so obvious that everyone’s non-stop cruelty was in service of some big-reveal, or if the performances weren’t so damn preening, the film would be completely intolerable.
  7. Anthony Bryne's high-flown style only serves to highlight the film's icky way of exploiting real-world tragedy for kicks.
  8. The documentary's labored juxtapositions create fission, the feel of a director scrambling to dictate the game.
  9. A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller. Which is to say that the film doesn't evince the seamlessness of presentation of its clearest antecedent: David Fincher's "Gone Girl."
  10. The film never manages to reconcile the enormity of the Holocaust with how ordinary a bureaucrat Eichmann was.
  11. While many documentaries about notable figures feel the unfortunate need to legitimate their subjects with hyperbolic praise from recognizable sources, the film immediately runs the gamut in a manner that would be worthy of a mockumentary were it not completely serious.
  12. Cargo makes the mistake of benching its menace, banishing the undead to blurred shots on the horizon, while doggedly pursuing its theme.
  13. Child’s Play is only a shade more terrifying than Teddy Ruxpin.
  14. A mediocre, quasi-diverting B movie.
    • 54 Metascore
    • 50 Critic Score
    The film is good enough to redeem the bad taste that lingered from its predecessors but too uninspired to make one want more.
  15. Though the film makes the important point that even the most liberal parents' acceptance of a child's difference may be repression by another name, it fails to excite sufficient sympathy for its broadly drawn principal characters.
  16. The film seems far more interested in celebrating a short-lived era of artistic invention than interrogating it.
  17. Bong's debut is not all it could be, but any film that has a line as hilariously warped as "Jesus, that thing's hairy" deserves some recognition.
  18. Under the Tree boasts the lurid determinism of many acclaimed European films that spit-shine genre-film tropes with chilly compositions and fashionable hopelessness.
  19. Right out of the gate, the film only sees a kind of blunt irony in this blurring of her public and private selves.
  20. Forget Dog Day Afternoon, as the film doesn’t even clear the bar set by F. Gary Gray’s tense and exciting The Negotiator.
    • 39 Metascore
    • 50 Critic Score
    Zoe
    Drake Doremus's compositions seem to be motivated by the idea that there’s no more profound image than sunlight reflecting off one-half of a character’s face.
  21. As two-handers go, the film has a moderately compelling pair of performances at its center, with Claudio Rissi’s take on a fun-loving road warrior providing an amusing, if obvious, counterpoint to Paulina García’s reserved homebody.
  22. Gene Stupnitsky’s Good Boys is Big Mouth for those who prefer ribald humor about tweenage sexuality in live action, though it lacks the Netflix show’s frankness and authenticity.
  23. Onur Tukel’s film doesn’t live up to the promise of this fleet-footed opening.
  24. A bald rehash of Jaws, only with the Moby Dick elements played up even further, Orca isn’t a cheap thrill (producer Dino Di Laurentiis was also the man behind the idiotic-but-exhilarating King Kong remake), but it sure does seem like it’s in a rush to finish.
  25. The Little Mermaid is the story of one packrat pre-tween princess whose undersea kingdom is only matched in depth by her remarkable sense of consumer-minded entitlement.
    • 61 Metascore
    • 50 Critic Score
    The film collapses on the crutch of hackneyed narration and constant music cues that formally undermine the ripe banter between Madelyn Deutch and her male co-stars.
  26. It’s always clear who’s right and who’s wrong, which material interests each is representing, and who’s lying and who’s telling the truth.

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