For 7,768 reviews, this publication has graded:
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33% higher than the average critic
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3% same as the average critic
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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: | Mulholland Dr. | |
|---|---|---|
| Lowest review score: | Jojo Rabbit |
Score distribution:
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Positive: 4,345 out of 7768
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Mixed: 1,490 out of 7768
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Negative: 1,933 out of 7768
7768
movie
reviews
- By Date
- By Critic Score
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- Critic Score
Like its protagonist, the film sells out for the security of convention and complacency.- Slant Magazine
- Posted Oct 10, 2012
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Reviewed by
R. Kurt Osenlund
While Jonathan Lisecki is well in tune with his film's niche market, his knack for comedy, both visual and verbal, is universally hilarious.- Slant Magazine
- Posted Oct 10, 2012
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Reviewed by
Chuck Bowen
The film never really goes soft, as Jordan Roberts never loses sight of the fact that these toxic nincompoops are authentically bad for one another.- Slant Magazine
- Posted Oct 9, 2012
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Reviewed by
Glenn Heath Jr.
Throughout, it becomes clear that both the film and its subject are defined by the necessity of multitasking.- Slant Magazine
- Posted Oct 8, 2012
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Tomas Hachard
The stillness and silence with which we look upon Jake Williams ranges from curious to unnerving to fascinating.- Slant Magazine
- Posted Oct 8, 2012
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Reviewed by
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Reviewed by
Rob Humanick
The film walks a questionable line between Important Issue seriousness and antsy video-game machismo.- Slant Magazine
- Posted Oct 8, 2012
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Joseph Jon Lanthier
Ross McElwee is less anxious of death itself than of finally comprehending the vast faultiness of the life he's lived.- Slant Magazine
- Posted Oct 8, 2012
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Nick Schager
Michael J. Gallagher's half-cocked horror fiasco is filled with clichés, pitiful dialogue, and clumsy aesthetics.- Slant Magazine
- Posted Oct 8, 2012
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Zeba Blay
It's the film's unwillingness to deal with the sometimes hilarious and often problematic things its characters say and do that stands as one of its ultimate failings.- Slant Magazine
- Posted Oct 4, 2012
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Reviewed by
Nick Schager
Roberto Faenza shoots his Manhattan-set action with a glossiness that's as bland as the soundtrack ballads.- Slant Magazine
- Posted Oct 3, 2012
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Some of the basic pleasures of the original remain intact (nobody shoots up a small room of bearded Eastern European men like Neeson), but ultimately the film feels compromised.- Slant Magazine
- Posted Oct 3, 2012
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Reviewed by
Chris Cabin
As much as the dialogue in the film voices an attitude of self-liberation and champions the positives of severing accepted social constraints, it seems to be constantly taking one step forward and two steps back.- Slant Magazine
- Posted Oct 3, 2012
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Reviewed by
R. Kurt Osenlund
The Paperboy deserves to be seen for its pulpy, well-executed excess, but as a filmmaker, Lee Daniels seems ignorant of how the shocks distract from the story.- Slant Magazine
- Posted Oct 2, 2012
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Jesse Cataldo
Ursula Meier's film is sustained by a sturdy emotional engine and some intrepidly thoughtful characterization.- Slant Magazine
- Posted Oct 2, 2012
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Reviewed by
Chuck Bowen
One can't help but sense that underneath the complicated art-house game-playing of Isaki Lacuesta's The Double Steps resides a theme that's sentimental and old-hat.- Slant Magazine
- Posted Oct 1, 2012
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The film's vision of masculine self-sufficiency is built around--and on, via Australia's own bloody colonial history--an elemental violence.- Slant Magazine
- Posted Oct 1, 2012
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Trade of Innocents is as much a piece of social-justice campaigning as it is a work unto itself, an important fact to remember when considering its many flaws.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
Nick McCarthy
The film betrays its own fictions by overloading on cheap worst-case-scenario mythology.- Slant Magazine
- Posted Oct 1, 2012
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Andrew Schenker
The mixture of different techniques and varied views results in a rich, multi-faceted look at one of America's most misguided policy initiatives.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
Glenn Heath Jr.
People matter in Matthew Lillard's film; genre not so much.- Slant Magazine
- Posted Oct 1, 2012
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Unlike his father, Gotham Chopra is more interested in his own latent daddy issues than with questions of cosmic import.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
Nick Schager
Boasts an evocative sense of environment and the feel of working with one's hands, but otherwise rummages around in search of substance and subtlety.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
Chris Cabin
The film exudes an elemental, intriguing mysteriousness, a reminder that things remain unseen and in a state of unrest.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
Diego Semerene
There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
Joseph Jon Lanthier
In whittling down Emily Brontë's romance to its most earthly aspects, Andrea Arnold stylizes herself into an unavoidable corner.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
R. Kurt Osenlund
The second act shifts the film from a lazy and comfy litany of introductions to a riveting fantasia of pure cinema, wherein Lee paints an oft-wordless picture of nature's harshness and grace, the perfect arena for Pi to have a Christ-like coming of age.- Slant Magazine
- Posted Oct 1, 2012
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Reviewed by
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Reviewed by
Nick Schager
Tim Burton's sense of playfulness feels forced throughout, and as the film progresses, any humor or inventiveness takes a backseat to tumultuous set pieces that reference Frankenstein.- Slant Magazine
- Posted Sep 29, 2012
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An anthology of found-footage horror shorts that exudes, sometimes extraordinarily, a neophyte's sense of courage and cluelessness.- Slant Magazine
- Posted Sep 29, 2012
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Reviewed by
Eric Henderson
A devout political documentary that insists that community, dignity, and solidarity are sustaining, but not the baseline by which one should settle.- Slant Magazine
- Posted Sep 28, 2012
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Reviewed by
Diego Semerene
Doug Langway's film is often too cheesy to, well, bear.- Slant Magazine
- Posted Sep 27, 2012
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Reviewed by