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 visible numbness and empty stares of the doc's three subjects painfully evoke years of being gripped by the war on drugs.
  2. In the simultaneously heady and lyrical The Creation of Meaning, we're obviously implicated in that comment, as the film views the meaning-making process as something malleable and dependent on perspective.
  3. Writer-director Alanté Kavaité's film is a string of softly weaved pictorial metaphors steeped in reverie.
  4. According to the film, individual misdeeds aren't the final enemy, but the byproduct of an unregulated regime.
  5. By negating more conventional, facts-first priorities, Mor Loushy creates an alternative historiography that's more meant to be felt than learned.
  6. The film is unwaveringly attentive to problematizing the dividing line between predator and prey.
  7. The actors have the showmanship to chew the lurid, shopworn material up to bits, savoring it like a Royale with cheese.
  8. The film punctuates the sisters' confinement with various episodes united by their contrivance.
  9. Sloppy and haphazard where it should be calculatedly chaotic, it can't ever seem to settle on an appropriate tone.
  10. The tacky and loose means by which the platitudinous screenplay dances around what ails the story's football players is just one cog in a whirligig of pat representations.
  11. All of the film's nuances are ultimately negated by the its relentless canonization of its subject.
  12. The film uses its critique of white privilege as a means to woo the legitimizing gaze of international audiences.
  13. It confronts the hard realities of a world in which few make it to maturity without their share of scars, and no one makes it out of adulthood alive.
  14. If it stumbles when it seeks our sympathy, it thrives when it's exploiting our fascination with the surface of things, and all that's unknowable underneath.
  15. The film doles out a shock or hits a (usually hollow) emotional note every few minutes with mechanical precision.
  16. The characters' marginalized social standing is less indicative of a real-life epidemic and more akin to window dressing.
  17. It highlights the potent dichotomies that, combined with Bergman's relatively unmediated beauty, made the actress luminescent both on and off screen.
  18. Lake Bell and Simon Pegg's star wattage isn't enough to distract from the sense that their characters are almost exclusively defined by their single-ness.
  19. Alison Bagnall and her talented leads appear to effortlessly achieve a tone that's tricky to sustain, one that abounds equally in absurdism and empathy.
  20. With the invocation of national allegiance as an inherent contradiction, the documentary blooms its larger, allegorical inklings.
  21. The film forsakes all ambiguity regarding McQueen's psychology by stubbornly defining him as a determined, charismatic womanizer.
  22. Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
  23. It winningly reflects how to utilize quiet understandings and, yes, very loud laughter.
  24. Failure hovers over the film as much as it did in Schulz's comic strip, infusing even its most ebullient set pieces and designs with a sense of melancholy.
  25. Like Jay Roach's Game Change and Recount, the film's patina of relative apoliticism masks (or enables) its blandness of inquiry.
  26. Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis.
  27. It respects and plumbs the feelings of all three main characters while surfacing the economic, ethnic, cultural, and gender power imbalances in their relationships.
  28. Cinema hasn't been this close to the dusty cogs of desire's machinery and unapologetic about pleasure since Pasolini.
  29. All of its revisionism centrally incorporates the history of the franchise, and the film both excels and suffers for frequently recalling its forbears.
  30. By modeling its structure so closely after "All the President's Men," Spotlight only draws closer attention to its lack of scope and ambition.

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