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. Though as fresh and conceptually far-reaching as a David Cronenberg film, it traffics in body ambivalence more than body horror, striking an eerie, wistful tone.
  2. It’s Argento who consistently makes the most compelling and incisive on-screen presence throughout Simone Scafidi’s documentary.
  3. The film instinctively and lucidly shows how sometimes a coming of age can be thrust upon a person against their will.
  4. There’s considerable emotional truth on display throughout Benjamin Ree’s documentary.
  5. The film’s pregnant foreshadowing is revealed to be misdirection, the promise of a thriller offered as candy to lure us into a consideration of the tensions that can cast a pall over family life.
  6. The further Love Me develops its scenario, the less plausible it becomes, even by lovelorn sci-fi standards.
  7. The film is levitated by a truly joyful sense of humor that puts up a good fight against the story’s darker moments without trying to joke them into irrelevance.
  8. Suncoast spends much of its runtime trafficking in tiresome coming-of-age tropes, until the resulting crowd-pleaser has snuffed out much of what’s so singular about its central story.
  9. The things that elevate Chiwetel Ejiofor’s film are those that elevated Rob Peace’s life overall.
  10. True to its name, the film puts the concept of forgiveness on display and asks us to spend some time in front of it and consider it from all angles.
  11. The film is one that fully recognizes the power of a lingering gaze, a suppressed smile, the slightest movement of the littlest finger, and one which uses them all to maximum effect.
  12. There’s only so much that director Charles Stone III can do with the script’s “head held high” cornpone.
  13. Befitting the unseen forces that seem to drive the characters, writer-directors Fernanda Valadez and Astrid Rondero bring a haunted, dreamlike undercurrent to the film similar to sequences from their prior collaboration, Identifying Features.
  14. The film isn’t designed to challenge what you think you know about the Church of Satan.
  15. Ironically for a film that unfolds almost entirely in a single, contained location, The Seeding is all over the place.
  16. The film approaches a new tech frontier with an objective, responsibly apprehensive, eye.
  17. How to Have Sex winds up delivering on the promise of its title, as this is a truly instructive film about sexual politics, though a remarkable one for largely leaving emotions unresolved and relationships feeling messy.
  18. 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.
  19. The film is in such a rush to get to the bloodshed, deception, and panic that most of the fertile ground of its premise goes unexplored.
    • 78 Metascore
    • 63 Critic Score
    If you’re a longtime fan of the truly iconoclastic essayist...expecting to learn what makes her tick then Public Speaking, Martin Scorsese’s loving profile of the early bloomer who subsequently spent a decade with “writer’s blockade,” is certain to disappoint.
  20. It’s not unlike a partially completed sketch whose occasional flashes of color only serve to remind us how incomplete and lazily constructed the rest of it is.
  21. If this Mean Girls thrives too much on its relationship to the original, more tribute with songs than independent adaptation, its enjoyability is also a testament to the original’s staying power, as well as to Fey’s decades-long faith in the recyclability of her own material.
  22. The film does keep the smirking undercurrent of the first half present in the more serious second, but, slowly but surely, it starts asking big questions about the nature of God, what measure of divinity lies in us all, and the value of basic humanity and grace in a world where God’s intervention isn’t a given.
  23. There’s never any danger of Self Reliance’s reach exceeding its grasp, but it gets a firm handle on the things it does want to achieve: tell good jokes, craft likeable characters, and strike a lighthearted tone that’s always just a little bit odder than you may be expecting.
  24. There’s an elegiac beauty to many of Night Swim’s pool scenes, but everything that surrounds them is leaden, from Wyatt Russell’s comatose performance to the baseball metaphors that have been unsubtly shoehorned into the impossibly routine narrative.
  25. Whenever Mayhem! makes any attempt at character building, it feels as if we’re watching a trashy DTV movie, and as a result reveals itself as a run-of-the-mill revenge flick that practically crawls toward its preordained destination.
  26. The film hits its plot milestones as fast as humanly possible, cohesion or depth be damned.
  27. The relative grace of A Child of Fire’s action direction only underscores how disjointed and generic the rest of the film is.
  28. Will Gluck’s rom-com doesn’t bother to create a compelling world around its charming leads.
  29. The film knows the words and tunes but, with rare exception, lacks the passion and the perspective to make them truly resonate.

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