Slant Magazine's Scores

For 4,344 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 8.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 In the Family
Lowest review score: 0 Wrath of the Titans
Score distribution:
4344 movie reviews
  1. The conflation of historical complexities makes for cheap pathos throughout, complete with weeping mothers and the seemingly endless dredging up of the terrorists' obvious moral equivalence.
  2. Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them.
  3. Mute is so slow and arbitrarily over-plotted that it's difficult to believe that Jones also directed the spry and enjoyable Moon and Source Code.
  4. Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them, probably because addressing them could too quickly shut down the romance.
  5. The film establishes coherent characters and drops them into a twisty mystery plot that’s tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.
  6. Annihilation gets momentum from the deeper it pushes into the uncertainties of ecology and the self.
  7. The film displays a sprightly tone and blissful sense of liberation in charting the exploits of characters seeking to live by their own feminine-centric rules.
  8. Even Unsane's most ridiculous moments coast on the sheer energy of Steven Soderbergh's aesthetic gamesmanship.
  9. Rainer Sarnet is as invested in telling a convoluted story that feels rooted in millennia-old folklore as he is in unabashedly experimenting with form and style for the sake of visual pleasure alone.
  10. The film is disarming for its sincerity, unalloyed in its positive thinking but unafraid of showing the gruesome details of alcoholism and denial to back up its bromides.
  11. The film's approach to exploring the Sonoran Desert and topic of immigration often veers toward the avant-garde.
  12. The film’s flashbacks, which are either too clipped or excessively scored, effectively step on the actors’ toes.
  13. The film is ironically gripped by the sort of ideological "vagueness" that Krk Marx dismisses throughout.
  14. Anderson is clearly a massive talent working, again, in his prime. However uncomfortable, it's crucial to ask what gives him the right to romp around in all these signifiers in service of bespoke whimsy—but then the word for it isn't “right,” but rather privilege.
  15. The way that Dominika is at once completely transparent and at the same time impossible to read is Red Sparrow's most intriguing through line, not least of which for the way that Jennifer Lawrence makes you grasp the canny mental gymnastics that her character has to do in order for everything that she says to be at once truth and obfuscation.
  16. One feels in the film's punishing bleakness a yearning for transcendence.
  17. The film is full of astute, and poetically staged, critiques of the parallel worlds resulting from Iran's police state.
  18. It captures the qualities of live theater that are rarely transmitted to film, of being immediate, alive, and spontaneous, as if the viewer is just a stone's throw away from the characters.
  19. There's no follow-through or follow-up on how the main character's voyeurism informs his burgeoning sexual perversions.
  20. The clash between prehistoric pastoralism and technological progress at the center of the film is laden with potential for biting comedy, but Nick Park flattens the conflict into a series of slobs-versus-snobs clichés.
  21. Though Double Lover has a slight oneiric quality from the start, it grows increasingly delirious, the plot threads knotting in convoluted patterns and the overall mood more and more ridiculous.
  22. Endeavoring to give us a post-mumblecore spin on Annie Hall, writer-director Sophie Brooks seemingly fails to understand what made Woody Allen's film so appealing: its rich, multi-faceted characterizations.
  23. Mark Pellington's Nostalgia is less a living, breathing film than a presentation of sentiments revolving around a pat question: Are the objects of our lives merely detritus, or are they vital to our identities?
  24. One misses the prismatic structure of the 15:17 to Paris book, which fuses multiple points of view and which is reduced by Dorothy Blyskal's script to cut-and-pasted bromides.
  25. James Foley’s film suggests that any semblance of capitulation on Christian’s part is a win for Ana and women at large, even if that momentary triumph leads to a further sacrifice of Ana’s independence.
    • 88 Metascore
    • 75 Critic Score
    Michel B. Jordan plays Erik Killmonger with such moving, occasionally gut-wrenching commitment that it nearly mitigates the goofiness of his moniker and the superficiality of the film in toto.
  26. Brian Crano is as skittish as his protagonists are about the particular contours of their dilemma. To put it bluntly, Permission is a sex film without the sex.
  27. Ben doesn't deserve our sympathy, in part for how noxiously the film has imagined the female characters who surround him.
  28. Peter Rabbit plays like a country cousin to Paul King's Paddington films, similarly balancing slapstick, absurdism, and a touch of gross-out humor, though without King's transcendently oddball sensibility.
  29. Eventually, the filmmakers reveal the secrets they'd previously withheld, spoiling the film's sustained mystique.

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