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. The human struggles at play are too dire and relatable for us to say that these people don’t deserve that level of grace, but making the audience generally sympathize with them doesn’t make spending time with them particularly pleasant either.
  2. Set to the rhythms of a pulsing, ultramodern New York milieu, the film, at its best, wrings real tension and excitement out of the simple exchanging of clandestine messages and sensitive information.
  3. As heartwarming as this story remains at its core, it’s hard to shake that you already know how it will play out.
  4. As its second half begins to focus more on Lucy’s dating dilemma, and how she’s forced to confront her firmly established beliefs and rules about dating, the film hews increasingly close to the narrative expectations of the traditional rom-com.
  5. Sex
    The film’s microcosm of dysfunction is convincing for how it depicts an ongoing, even never-ending, struggle to define oneself.
  6. The film is comic yet vicious and cynically bleak in its portraiture of Japan’s silent plague.
  7. Rithy Panh’s film is hard-hitting yet illusive, much like the story its characters are hunting.
  8. A story that might have been benefited by being allowed to breathe over a six-episode arc instead feels rushed and schematic rather than lived-in.
  9. Charles Williams’s feature-length directorial debut, Inside, centers on a trio of dangerous men who are forced into each other’s orbit, leading to an outcome that’s both violently chaotic and tragically predictable.
  10. Killer of Killers only gives us just enough to get by, get invested, and get to the goods.
  11. Sans a mythology of its own, or any substantive ties into where the John Wick films go chronologically after this, Ballerina is just another 87Eleven joint.
  12. Like any number of Exorcist wannabes, David Midell’s film is a special kind of hell.
  13. This film essay grapples with the ethical and political considerations raised in the effort to retrieve Césaire from oblivion.
  14. Mike Flanagan’s film doesn’t escape the mires of unpersuasive pop psychology.
    • 57 Metascore
    • 50 Critic Score
    Tornado’s winking theatricality, thematic fixations with myth and avarice, and pared-down plotting add up to a heady concoction, but it’s more conducive to reflection than engagement.
  15. Jonathan Millet’s film is unconvincing and unnaturally contorted into its shape.
  16. The raw emotion underlying The Phoenician Scheme peeks out at unexpected times.
  17. If there’s a moral here, it might be that the only thing worse than a competitive billionaire is a bored one.
  18. Like its predecessors, the film is an often awkward mix of YA drama and R-rated gore.
  19. Here, “ohana” doesn’t just mean family but community, and the film does moving and spirited work in showcasing how crucial it is for us to lift each other up.
  20. The film has a white-hot nerve of pain running inside it that burns right through the screen.
  21. The film desperately tries to convince us that it’s peeling back the layers of the Weeknd’s persona in order to show you what’s really going on inside his head. But, in defiance of Anima’s wishes, Hurry Up Tomorrow lacks the honesty to confront what’s there.
  22. The film is so welded to its main character’s perspective that it, too, shies away from understanding, tragic and frustrating in equal measure.
  23. The film is a showcase for preposterous (and mostly practical) action and an unabashed sentimentality that Ethan feels for the makeshift family of spies he’s assembled over the course of the series.
  24. Bloodlines finds frights and fun alike in a string of gory kills.
  25. Ultimately, Henry Johnson’s cynical assertions about society and human nature are the only aspects that end up resonating, for better or worse.
  26. Eli Craig’s film works precisely because it plays things straight.
  27. The film plays right into Tim Robinson’s sweet spot of surrealistic and satirical comedy.

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