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. Through its energy and inherent beauty, Brimstone & Glory hits concurrent notes of peril and bliss, but even at a scant 67 minutes it can seem a bit aimless and scattershot.
  2. The film brings Pixar's customary emotional directness to a festive, reverent, and wide-ranging pastiche of Mexican culture.
  3. Director Timothy Reckart's The Star turns the greatest story ever told into just another kids' movie.
  4. The film has an almost pathological need to ensure that everything turns out well for every single character, while at the same time eliding any truly difficult issues.
  5. When the film's tone slides so firmly back into the murk, it's hard not to see DC's notion of heroism as borderline nihilistic.
  6. Akihiko Shiota's sketch-like scenes have an eccentric and volatile intensity, as the filmmaker stages subtly theoretical moments that still allow for spontaneity.
  7. Cross-dressing in the story is merely a tool for survival, but such border-crossing is inevitably rife with unintended consequences beyond narrative ones.
  8. Sweet Virginia doesn’t have much of a point, as its characters are reductive variables in an inevitable equation of carnage.
    • 68 Metascore
    • 38 Critic Score
    It's funny that the film spends so much time caught up in Joe Heaney's feelings of displacement, because it produces a similar sensation in viewers by forgoing the work of narrative and character development in favor of a stark, elliptical style that becomes tiresome.
  9. As Ridgen and Rossier take pains to point out, a man so rigorously committed to putting an end to oppression ought not be so easily dismissed, even if coming to grips with such a challenging figure may be finally as difficult as getting to the bottom of the Arab-Israeli conflict itself.
  10. Cinema has rarely mined the consequences of being a child of a Holocaust survivor and Big Sonia adeptly explores how, in many cases, losing much of one's family led many survivors to put undue pressures on their future children.
  11. The film is about the idea of Andy Kaufman, about how artists channel their influences and keep the dead alive.
  12. The film portrays parenting as the death of manhood, a final surrender to the castrating effects of domesticity.
  13. It’s as exhilaratingly honest and unshackled a work as many have come to expect from this auteur of cringe comedy, one that foresees, absorbs, and responds to all possible bile that might be directed its way, knowing full well of the muck it dredges up.
  14. It grapples with emotional enigma of infatuation, and the question of how such a mighty force can also be so fleeting.
  15. Throughout the film, a promising character study is smothered beneath lazy genre machinations.
  16. Once the film gets to the Orient Express, it's as if Kenneth Branagh is always itching to get off of it, even having Hercule Poirot at one point look over a list of names while standing atop the train for no discernible reason, except perhaps to enjoy the way the sun peeks out between two distant mountain peaks.
  17. The film is an interminable saga full of soap-operatic plot twists involving quickly broken marriages, sexual assault, a secret porn career, terminal illness, and a quasi lesbian love affair.
  18. Initially offbeat, Bitch awkwardly pivots toward a more inspirational story of regret and reconciliation.
  19. The outline of Miles Joris-Peyrafitte’s As You Are is certainly well-worn, but this coming-of-age film nonetheless stands out for its nuanced sense of detail and the sympathy it extends to its main characters.
  20. Mark Webber's stripped-down approach renders the messy, unglamorous lives at the film's center with dignity.
  21. Like so many shoot-‘em-up video games that repeatedly break for cutscenes, the film too often diffuses its tense energy by whipping up context.
  22. Stephen Cone's Princess Cyd is distinguished by a dramatic complexity that would seem to run counter to its remarkably even-tempered tone.
  23. Erik Nelson's film straddles a fine and admirable line between lurid sensationalism and sober humanism.
  24. The pressures of Christmas prove too great to fight off and the need for feel-good holiday cheer inevitably veers the film toward half-hearted, sentimental drama that seems purely obligatory to its seasonal milieu.
  25. If the global reunion that the cruise ship presents here is such a panacea, why is there so much moping?
  26. The fractured rhythm of 1945 and the desolate aesthetic are engrossing, but Ferenc Török's film doesn't linger.
  27. Thor: Ragnarok is the flamboyantly roller-disco entry in an already uncomplicatedly cartoonish side franchise.
  28. Takashi Miike's film is a work of robust genre craftsmanship that's informed with a sly sense of self-interrogation.
  29. LBJ
    By pairing down Lyndon Baines Johnson’s multifarious life and career to this one piece of legislation, the film fails to do justice to both the man and the fraught times he so fundamentally influenced.

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