Slant Magazine's Scores

For 7,768 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:
7768 movie reviews
  1. The peculiar circumstances of the documentary necessitate more transparency than the filmmaker is willing to offer.
  2. Even the film's lapses inform it with a free-associative sense of portent, evoking the stupid things we inexplicably do in our most personal nightmares.
  3. It hopes to jolt audiences with OMGs instead of edifying them about the empty lure of Buddhafield's cult mentality.
  4. The problem here isn't necessarily the tension between emotion and rationality, but that the doc does little to explore these dimensions as they arise.
  5. The film's expected rehash of recent pop-culture totems is accompanied by a novel attention to millennial-centric debates about entitlement and identity politics.
  6. The Angry Birds Movie is a lot of things, but none of them true to the app's appeal.
  7. Shane Black's The Nice Guys doesn't want for great exchanges, and even disposable conversations brim with acidic wit.
  8. Kurosawa allows for a few brief flights of fancy, further abandoning realism for whimsical bursts of glowing color, but otherwise it's a humdrum slog of a voyage.
  9. Roberto Minervini's documentary is as quintessentially American a text as one could hope for in today's divided union.
    • 85 Metascore
    • 88 Critic Score
    Bi Gan's film is a soulful depiction of China's increasingly rapid pace of cultural and economic transformation.
  10. Steve Hoover's documentary affords one an unusually intimate glance at the collapsed infrastructure of the former Soviet Union.
  11. The final note of optimism is consistent with the documentary's overall tone and interest in perseverance.
  12. This enterprise is so listless that one can't even work up a proper head of self-righteous steam over the spooky Native American clichés that drive the plot.
  13. Jodie Foster manages the interlocking tones of outrage and low humor with an unfailing rhythm and an engagingly casual cynicism.
  14. No Austen adaptation, even the most revisionist ones, have ever felt as vicious as Whit Stillman's Love & Friendship.
  15. Throughout Alex and Benjamin Brewer's film, Nicolas Cage holds the screen with his distinct timing and expressive force of being.
  16. The Drake Doremus film all comes down, simplistically and repeatedly, to “feelings make us feel alive.”
  17. The issue with X-Men: Apocalypse is that Bryan Singer suggests so many possible directions to go in and still chooses the least interesting one.
  18. The politics of the film are consistently muddled by director Rodrigo Plá's conspicuous formal choices.
  19. The ingenuity of writer-director Jeremy LaLonde's film ends with its title.
  20. Zhang Yang achieves an astonishing immediacy by simply allowing the prostration process to play out over and over with minimal aesthetic interference.
  21. When Bo Mikkelsen springs his traditional yet cathartic climax, it's earned because the violence matters truly as violation.
  22. It's never made clear how witnessing a family deal with their specific issues affects Jesus's own perspective on his destiny.
  23. Terence Davies's sheer talent for creating sensuous images conveniently masks how little of this feeling actually emerges from the plot these images illustrate.
  24. The undeniable fun of Civil War's action scenes only exacerbates the failure of the narrative to adequately contend with its own themes.
  25. Jacques Audiard's film struggles to overcome the burden of its over-simplified, moralizing setup.
  26. What intrigues, if in a lurid sort of way, is the film's fudging of projected viewer desires with its characters'.
  27. It too often fails to examine how the long shadow cast by Star Wars affected its its background actors' lives.
  28. Chad Archibald doesn't quite land Bite's transition over from claustrophobic character study into full-blown monster movie.
  29. The film's Cuban specificity comes to seem like an opportunistic locale for reenacting a decidedly art-cinematic legacy.

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