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. Throughout, director Justin Kurzel's stagey pretensions clash with each of his aesthetic choices.
  2. In its own way, the film is as suitable a final work as a culminating magnum opus.
  3. Brendan J. Byrne's documentary about Bobby Sands colors its familiar formal lines with welcome intelligence.
  4. O'Conner continues to exhibit a deft knack for melding interpersonal drama with athletic competition in ways that, despite his tales' clichés, earn their melodramatic manipulations through genuine empathy for characters' plights.
  5. Subtlety dissipates as Justin Chon’s film grasps for something louder and more obvious.
  6. The lack of real analysis or consideration leaves this perilously close to a Goldilocks-style depiction of privileged female indecision.
  7. The funny thing about the movie isn't its failure-to-launch humor, but the weird mess of life that rushes in despite it.
  8. While the film lacks the feverish, autocritical neuroses of Hitchcock’s mid- and late-period masterpieces, it often superbly plumbs notions of guilt and vulnerability, all the while cheekily satirizing Scotland Yard as a swayable arbiter of justice.
  9. The film’s aesthetic, understandably fused with its protagonist’s dogged can-do attitude, is both the source and limitation of its power.
  10. It combines the brooding intensity of a slow-burn thriller with the high-flown ornamentation of a gothic melodrama.
  11. Like Shohei Imamura, Argentinian writer-director Gaston Solnicki can be understood as a cinematic "entomologist."
  12. The film gets at the profound truth that our relationship with another person is, at its core, a collection of shared memories.
  13. It sticks firmly to a Kerouac-lite immersion into young love rather than a more provocative portrait of the hazards inherent to modern urban life.
  14. Ingrid Goes West recalls Fear and Single White Female — two films right in the sweet spot of mid-'90s nostalgia that Ingrid's peers love to recall — but is more indebted to Alexander Payne's social comedies, which dwell in the backwash of the American dream.
  15. The Breaking Ice is fixated on intense in-between states that work to separate people from each other and from themselves, as if to say self-acceptance and love aren’t destinations so much as journeys, at once formidable and worthwhile.
  16. Rocky's journey of self-realization undoubtedly has a universal resonance to it that intermittently yields poignant and inspiring moments. But where are the poor Indian kids in all of this?
  17. The film is a quietly gutting ode to Paris’s resilience in the post-Bataclan era.
  18. RBG
    The film rarely presents a clear analysis of Ruth Bader Ginsburg's victories, reducing her work to empty slogans.
  19. Polanski brilliantly evokes an evil society’s almost supernatural ability to recognize weakness in others and to punish all that is good.
  20. A modestly charming bit of whimsy that hopes to speak to anyone who experienced a sense of emotional injustice during their formative years.
  21. Despite the exuberance of the works featured, which are promptly flattened by the film's commitment to a traditional documentary blueprint, Yayoi Kusama's resilience still commands our attention.
  22. The film's sustainment of its corkscrew tension is so elegant and methodical as to feel dance-like.
  23. There's a blank space at the core of Molly's Game that the protagonist cannot fill, unable as she is to represent anything beyond her esoteric narrative of unorthodox self-actualization.
  24. It seems too enamored with the seductive notion of an honorable criminal, too ready to take Bulger's justifications as actual indications of his relative innocence.
  25. The transcendence that the film offers isn't to be taken lightly considering the near impossibility of living professionally as an artist.
  26. Emmanuel Gras resists pitying or sentimentalizing his main subject, or exalting him merely for his resilience in the face of such a harsh, uncaring reality.
  27. The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together.
    • 71 Metascore
    • 50 Critic Score
    Like its protagonist, the film sells out for the security of convention and complacency.
  28. Biopics ascribe titanic importance to a subject's every gesture, but Ferrara stresses the reality of creation, of its ordinary activities that nonetheless give an artist a sense of fulfillment.
  29. This isn't a film about surfing so much as one about riding a wave that must eventually break and recede.

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