Slant Magazine's Scores

For 7,772 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:
7772 movie reviews
  1. One for the Money is like The Bounty Hunter by Andy Tennant, if you dipped it in self-tanner and strapped some Four Loko on it.
  2. Even the most desensitized, ghoulishly amoral gleaners of deviant cinema can’t just stare down the nastiness on display in Cannibal Holocaust and just shrug it off.
  3. Maniac simply exists as a wretched yet unforgettable succession of scenes meant to corrupt even the purest of minds, if you can help yourself from laughing uncontrollably at its overwhelming amount of inconsistencies.
  4. Yell the word "independent" loud and long enough and people might forget that they're seeing the same old, patronizing Hollywood clichés, recycled, rebranded, and regurgitated for their gullible, eager consumption.
    • 21 Metascore
    • 38 Critic Score
    Under even the best of circumstances, Saving Lincoln would have to inevitably face the scrutiny of potential redundancy.
  5. 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.
  6. It careens from one tonal extreme to the next, uncertain about whether it wants to be a gritty drama, camp artifact, or violent prison-sploitation flick.
  7. Any pretense of satire collapses by the film's midpoint, leaving only the contempt.
  8. As in Judd Apatow's films, crassness is boasted as shamelessness, and calculated sentimentality is dressed up as empathy.
  9. 211
    The film relegates Nicolas Cage to a supporting player and crowds him with considerably less charismatic performers.
  10. Amateurish and hyperbolic, this animated feature directed by Pasha Roberts makes quite clear his political leanings.
  11. Though it pretends to stick up for all the schmucks in the world, the film is really just laughing along with the assholes.
  12. Too derivative to be amusing and too earnest to be parodic, it assumes the form of countless other teen comedies minus any wit or drama.
  13. Despite its title, Life Itself doesn’t revel so much in the joys and travails of life as it does in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
  14. So flimsily constructed, visually and narratively, that it resembles a middle-school play that's been hastily filmed on an antique camcorder.
  15. In the end, Nicolas Cage can only do so much to bring this hastily assembled oater to life.
  16. Roberto Faenza shoots his Manhattan-set action with a glossiness that's as bland as the soundtrack ballads.
    • 20 Metascore
    • 12 Critic Score
    If you're wondering why A Haunted House exists alongside the upcoming Scary Movie 5 rather than instead of it, you may already have given the subject more thought than Marlon Wayans had hoped.
  17. While it lends itself to some interesting insight on the politics of non-exclusive, fuck-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.
  18. A shrill Indiewood torture porn that, despite promised shocks and revulsions, doesn't even have the conviction to hold its camera on the story's most appalling twists.
  19. What most rankles about the film is the way that its insistence on paternal instincts as the principal signifier of male adulthood leads it to sanction the most childlike behavior of all.
  20. The tension almost immediately leaks out of the narrative once we realize we're watching a found-footage horror movie.
    • 20 Metascore
    • 12 Critic Score
    The film offers Tom Sizemore the perfect opportunity to prove himself worthy of a comeback. Alas, he fails spectacularly.
  21. Isaac Florentine's film is maligned with gaping plot holes, terrible expository dialogue, and obvious moments of foreshadowing.
  22. The film's method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
  23. Reprisal is at pains to profess its faith in the symbols of law and order, but it cannot fully repress its almost erotic longing for the unfettered violence of the terrorist.
  24. One can’t mistake I Spit in Your Grave for anything other than a raging political text, a rigorous reminder to the power of a disturbed imagination, be it victimizer or victim.
  25. Hardboiled noir play-acting doesn't get more sluggish than in this leaden tale that blurs the line between reality and delusion in a way that's less intriguing than simply confusing.
  26. The obvious amount of hard work that went into this out-of-touch sequel is partly what makes it so irritating.
  27. Cavemen is an apt title considering how the sensibility and maturity of the film's characters don't seem to have developed beyond primal, alpha-man impulses.

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