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. Pietro Marcello’s film works better as a story of self-loathing and self-destruction than it does as a social critique or political statement.
  2. The undeniable fun of Civil War's action scenes only exacerbates the failure of the narrative to adequately contend with its own themes.
  3. The Eyes of Orson Welles honors the central paradox of Welles: that he was a joyful poet of alienation who was, like most of us, both victim and victimizer.
  4. Its desire to resist easy storytelling paradigms around artists is admirable, but without punching up or down, the film feels like it’s pulling punches altogether.
  5. Via the film’s juxtaposition between footage of Jones performing in front of fawning crowds with the dark personal stories of those who knew him best, Nick Broomfield bitingly undercuts the rock star’s veneer of public adoration.
  6. This is less a portrait of an artist as a young woman than a psychological evaluation of a slippery subject.
  7. At its best, the documentary’s aura of desolation suggests a verité version of Peter Bogdanovich’s The Last Picture Show.
  8. Robert Wise’s The Set-Up isn’t noir by any serious definition, its boilerplate fatalism undone by overbearing moralizing and the fact that Ryan’s boxer is too one-dimensionally good to register as tragic.
  9. The transformation of a teen into a serial killer isn't credible compared to the portrait of idle suburban adolescence.
  10. In a cinema landscape where the representation of the black female experience is most visibly explored through the modes of outlandish comedy, unironic melodrama, or not at all, Ava DuVernay's take is a decidedly refreshing one.
  11. A dazzling heist film that can't help but come off as duly influenced by Steven Soderbergh's Ocean's trilogy, South Korea's number one box-office champ of all time is never less than clever.
  12. Demián Rugna’s harrowing film spares no one from the cruelty of its world.
  13. The clothing may be couture, but Funny Face’s plot is strictly wash, rinse, repeat.
  14. In this time of peril and chaos, Elizabeth Carroll’s documentary is a balm for the soul.
  15. What tends to make even lesser Hitchcock films shine is his innate gift for directing performers, and this accounts for many of the pleasures of this ditty.
  16. Thomas Heise’s documentary seeks to excavate real human thought and feeling beneath the haze of larger political structures.
  17. The film's plot isn't unusual, but director Ron Morales strips it down to its primal essence.
  18. For most of Kevin Macdonald's film, Whitney Houston seems a guttering flame in a public crosswind, with only fleeting celebration given to the wildfire of her success.
  19. 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.
  20. Land of Mine's fitful jolts of suspense can't compensate for the story's wholly familiar trajectory.
  21. From the first blow to the last, Polite Society is a charm offensive that simply doesn’t let up.
  22. Cory Finley's screenplay is full of sharp, exactingly timed exchanges whose rat-a-tat rhythms exert a spellbinding pull, even if the dialogue at times comes off as artificial and mannered.
  23. Throughout the film, the quick-hit jokes from the show’s rich cast of oddballs serves to suggest a vibrant world outside of the Belchers.
  24. The film has a white-hot nerve of pain running inside it that burns right through the screen.
  25. Decolonization in Black Girl isn't only a myth, but also a myth that actually strengthens the consumerist caste systems.
  26. The film is an unbroken chain of one-liners, sight gags, and pop-culture references, and the hit-to-miss ratio is high.
  27. It movingly posits acting as a metaphor for the search for connection, through visceral texture rather than platitude.
  28. Andrzej Wajda's film is a lean, unwavering look at the effects of artistic idealism in the face of fascist doctrine.
  29. La Cocina goes further than recasting the American dream as a nightmare and the much sought-after visa as a ticket to infinite exploitation.
  30. Equal parts brilliant, baffling, ridiculous, and unwatchable.

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