Slant Magazine's Scores

For 7,767 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:
7767 movie reviews
  1. Dan Stevens navigates the film’s literal and thematic alleyways with the same enthusiastic befuddlement that convinced many to soldier through Legion‘s more impenetrable stretches.
  2. Paisley and McGuinness's intellectual back and forth is rendered so compellingly that one wishes the filmmakers didn’t feel a need to resort to a surfeit of momentum-killing plot contrivances.
  3. Like Lisa and Kate’s pendular swings between hope and despair, Johannes Roberts’s film can’t help alternating between the genuinely terrifying and the just plain dumb.
  4. After a while, the enigmatic nature of Rachel Weisz's character starts to feel less like an enticing mystery than a narrative trick.
  5. One may wonder if Night School's most revealing material has been left on the cutting room floor, so as to offer the sort of uplift that inadvertently marginalizes the very inequalities that drive the film.
  6. Too much is at stake throughout, leading to formulaic plot filler and exposition that snuff out the spark of the early scenes.
  7. Throughout, direcgor Bill Morrison mixes documentarian detail with an ecstatic sense of poetry.
  8. Fiona Tan’s comprehensive project discriminates against no particular era or pedigree of imagery.
  9. Sam Elliott’s calmly affecting performance is overwhelmed by a doggedly conventional screenplay that often plays like end-of-life wish-fulfillment fantasy.
  10. The documentary mistakes its access to quotidian behaviors as evidence of the need for comprehensive educational and financial reform.
  11. The film’s minimalism is rigorous, but its every moment of barebones craftsmanship is accompanied by plodding drama and an unsustainable heap of unanswered questions.
  12. The Hunter’s Prayer packs its brisk 85 minutes with an impressive array of car chases, gun fights, hand-to-hand combat, and foot pursuits, all cut with a precision and an economy that heightens the impact of every hit.
  13. The filmmaker has a bad habit of dropping the psychological inquiries to dully go through the genre motions.
  14. Despite its gestures toward nuance, the very broadness of the dichotomies in the film prove to be its undoing.
  15. The film is packed with mirthful pranksterism, a vigorous anti-authoritarian streak, and literal potty humor.
  16. The film simplifies Winston Churchill's legacy for the dubious purposes of narrative momentum and emotional lift.
  17. Wonder Woman is a strong, at times even rousing, application of the superhero film formula, but it ultimately can’t transcend the constraints of the genre.
  18. Errol Morris films Dorfman and her work with a rapt attentiveness that maps the nostalgic and regretful stirrings of her soul.
  19. Everyone here, from fellow marines to Iraqis, is merely a supporting player in Megan Leavey's emotional journey.
  20. At its most honest, the film wrestles with the reluctance or unwillingness of women to fulfill ostensibly requisite roles.
  21. One has to wade through a lot of eye-rolling comic marginalia to get to the film's pained beating heart.
  22. Its improbable story gives breath to the burden of fate on those living with a past unreconciled.
  23. Its gory conclusion is presented with an ostentatious grandiosity that the rest of the film simply doesn’t justify.
  24. David Leveaux's film cannily incorporates elements of spycraft and sheer trash into a familiar formula.
  25. It may be Piñeiro’s most inspired and thrilling work to date, exhaustive in its means of keeping the viewer off balance and yet rich in its emotional implications.
  26. Adios may deepen our understanding of these musicians and their world, but it never quite stands on its own.
  27. Johnny Depp’s perfunctory gestures and flailing pratfalls befit a film that brings the franchise’s theme-park roots full circle.
  28. Writer-director David Michôd's film renders existential crises of American entitlement dull and tedious.
  29. Its incoherent turn of events attempts to stupefy us into mistaking its deeply flawed internal logic for ingenuity.
  30. In terms of body objectification, Baywatch is an equal-opportunity exploiter, but when it comes to comedy, it's a total boys' club.

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