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. School Life is unfortunately committed to keeping its subjects, especially Headfort’s students, at arm’s length.
  2. The characters' emotional vacancy feels like another auteurist tic to which Yorgos Lanthimos is dauntlessly committed.
  3. When Taylor Sheridan is left to his own devices, his work seems more abrupt and shallow, no more so than when he resolves all of this film's lingering questions in one unremittingly nasty sideswipe of a flashback.
  4. It foists its own retelling of Angela Davis's story over any contemplation of her politics, effectively neutering their power as it could apply to today in the hands of a proper film essayist.
  5. Pietro Marcello, Francesco Munzi, and Alice Rohrwacher’s documentary rather faithfully captures the spirit of our times.
  6. Air
    Air is shot through with an infectious energy, but it’s more poignant for the way that it rhymes the histories of its actors in the public eye with all that Nike’s creatives were struggling to reconcile when they were chasing after Jordan.
  7. Brad Bernstein's documentary proves that Ungerer's legacy is as historically significant as it is artistically.
  8. The film doesn’t totally succeed in capturing the show’s scope or thematic through line.
    • 73 Metascore
    • 100 Critic Score
    The film’s themes, along with its avalanche of formal signifiers, are all fused together in the magisterial hunting sequence.
  9. The action choreography is as brutal as you expect, though the repetition in style from the first two films makes the effect less surprising.
  10. This mostly no-nonsense, floor-by-floor ass-kicking panorama is admirably humble.
  11. Much more interesting than Jacques and Arthur's relationship is Christophe Honoré's subtle portrait of the early '90s as a time of accelerated mortality and mourning, but also of material encounters of all kinds.
  12. Petra Epperlein's personal ties to the subject matter provides the documentary with a necessary anchor point.
    • 73 Metascore
    • 50 Critic Score
    Mouse Detective, though, just tries to get by with nothing more than the novelty of having rodents play detective, and then pulls the rug out from under it by showing, however briefly, the human Holmes and Watson.
  13. A limp, shapeless mess of a film trades in a genuine respect for westerns’ tropes for purile vulgarity and joy-buzzer showmanship.
  14. Terence Davies's sheer talent for creating sensuous images conveniently masks how little of this feeling actually emerges from the plot these images illustrate.
  15. Violence in Transpecos is sparse, but the filmmakers use it with a narrative precision that highlights the unforgiving consequences that accompanies every choice in this desolate borderland.
  16. It is almost as though these filmmakers are afraid they’ll never get the chance to make another one, and Re-Animator doesn’t hesitate in being an almost operatic, larger than life comedy of splatter. While it paints with a big (red) brush, it is never boring.
  17. Supernova is so obviously structured that it often seems to be imposing meaning on its characters.
  18. Rodrigo Sorogoyen’s feature-length Madre contemplates how memories of loss linger and distort the present.
  19. The film’s writing is the sort that begs you to find it cute and quirky, which makes it quite grating if you don’t.
  20. By rooting Noni's self-image issues in a controlling mother, the script provides the film with a tame, melodramatic structure that dulls the thorny matters of identity and expression at its center.
  21. Last Flight Home is an anguished therapy session disguised as a meditation on life and death.
  22. The film is simply too conscious of its form and its global-market ambitions to ever feel honestly interested in the themes it purports to cherish.
  23. A sham realist's disaster movie, tackily insulting the deaths of 300,000 people by reducing the horrors of the Indian Ocean tsunami to a series of genre titillations.
  24. Both keenly calculated and flowing with offbeat, naturalistic detail, Hanif Kureishi's jewel of a script reflects his sensibilities as a playwright.
  25. What happens in this neo-western isn't dictated by the tried and true themes of classic westerns but by the films themselves.
  26. Gilbert exposes a wealth of unsuspected pain and tenderness beneath Gottfried's often thorny exterior.
  27. Ichikawa Kon’s 1956 film The Burmese Harp is a tender almost-musical film about the horrors of war and the obliteration of identity.
  28. It falls well short of providing any satisfying exploration of its weighty theme of persuasion versus violence in the face of oppression.

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