Slant Magazine's Scores

For 2,485 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 9.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Score distribution:
2,485 movie reviews
  1. From overwrought flashbacks of Third Master and Madame Kang's initial meetings (and sexual encounter), to the present-day arguments and maneuverings of Lord Kang, Empire of Silver is so determined to stage its material with reverence that it embalms any flickers of passion or tension.
    • 65 Metascore
    • 38 Critic Score
    Despite his apparent comfort with F/X-heavy projects, the obligations of duty to the brand are too much for Matthew Vaughn's strange, singular voice, which rarely has the chance to shape the film unmolested by a curiously bland script.
    • 70 Metascore
    • 38 Critic Score
    Unlike Pamela Tanner Boll's truly inquisitive "Who Does She Think She Is?", which delves deeply and personally into the lives of a handful of working artist moms, Hershman Leeson introduces us only superficially to her dozens of pioneering friends.
  2. Injecting some down time to intimate a vast internal life is one thing, but needlessly approximating patches of wasted time is another, and Trollhunter's dully drawn characters suggest that the latter is closer to what André Øvredal came up with.
    • 65 Metascore
    • 38 Critic Score
    The near-slapstick escapes sit uneasily with the raw bits of very adult sex and cringe-worthy close-ups of brutality that dominate the rest of the proceedings.
  3. Life lessons abound in Buck, most of them tied to endlessly reiterated comparisons between man and horse.
  4. Can't mask that, at heart, it's merely a trifling tour documentary that gives further excessive attention to the late-night star's 2010 ouster as The Tonight Show host.
  5. Under the modern mannerisms lies a rather clumsily Romantic -- one might say Wordsworthian -- rant that juxtaposes urbanity against a nebulous, fictitious past.
  6. Despite aping its title in order to suggest quality by association, Bad Teacher has nothing in common with "Bad Santa" -- including, alas, a genuinely nasty sense of humor.
  7. Writer-director Josh Shelov (working with co-writer Michael Jaeger) is trolling in fertile, easy territory, but rather than mine the subject for what it's worth, he resorts to depressingly cheap mistaken-identity shenanigans and raunchy "he-milk" gags.
  8. Although it fancies itself as rigidly complex as a well-played chess match, Nick Tomnay's The Perfect Host is really a game without any rules, one where characters and situations exist in total thrall of the next shocking twist.
  9. By making John such an unrepentant freedom-opposing monster, Ironclad denies itself any moral thorniness.
  10. The film is a collection of consciously quirky indie tropes in place of any meaningful narrative, and you can practically see the notebook the filmmakers may have written in during a brainstorming session in a college screenwriting seminar.
    • 42 Metascore
    • 38 Critic Score
    Girlfriend doesn't present us with anything life-affirming, challenging, or expectation-beating about a lead character with Down's.
  11. Hood to Coast mostly suffers from an incessant soundtrack that stuffs the film with a peppiness that blocks the tragedy of its characters from view, as well as their overcoming it.
  12. Despite gestures toward modernity and clumsy humanism, the film feels regressive, presenting a version of modern China that's as much of an anesthetized fairy tale as its costume-drama past.
  13. Michael J. Weithorn's direction underlined its understatement via self-consciously patient camerawork and a doleful score, all in order to further the mournful mood.
  14. Sarah's Key becomes a musing ("meditation" would be too generous) on the importance of uncovering the past that fails to honestly contemplate why such an act is significant.
    • 65 Metascore
    • 38 Critic Score
    By the time the narrative winds toward its key revelation, even the most earnest viewer is numbed and emotionally desensitized by the unfathomable bleakness already overcrowding the screen.
  15. Perhaps because the Caribbean serves as its main setting, Fire in Babylon simply can't help but take it easy.
  16. For a film that had once made some pretense toward exposing such dangerously submissive attitudes toward Hollywood romance, Friends with Benefits's conclusion can't help but seem more than a wee bit disingenuous.
  17. Of all the vaguely philosophical, calculatedly left-of-center dialogue that peppers Miranda July's The Future, no line is more telling than the writer/director/star's late-film declaration, in the guise of her character Sophie, that "I'm saying okay to nothing."
  18. Glomming conceits and situations from a vast range of similarly themed films, it ambles along in a lethargic, good-natured manner, fitfully amusing but never approaching substantial.
  19. Good Neighbors basically runs on the assumption that Montreal is the last place you would ever want to live.
  20. Like the show, this boring, lazy, clumsily staged, overly lit, unnecessarily 3D-ed contraption even culminates with some half-hearted moral hectoring-in this case, the togetherness of the Smurfs works to validate heteronormative values.
  21. Watching 30 Minutes or Less, a proudly stupid action comedy that's awfully lethargic for all its slam-bang propulsion, it's tough to pinpoint who exactly Ruben Fleischer thinks he is.
    • 52 Metascore
    • 38 Critic Score
    The adventitious use of loud and strange blasts of music may theoretically make sense to heighten the film's creepiness, but here, like everything else, they don't exactly make a perfect fit and serve more as the final nail in the coffin for the film's lack of tonal cohesion.
  22. A pseudo-investigative documentary shakily committed to the subject of subliminal messaging in America, but curiously indulgent about giving the singer of Queensryche time to spout off about whatever enters his head.
  23. The Hedgehog ultimately illuminates only the continued lameness of employing out-of-leftfield tragedy for cheap bathos.
  24. Brighton Rock never brings its baby-faced hood antihero, the scarfaced Pinkie Brown (Sam Riley, pouting and hunched in the late-DiCaprio manner), into a semblance of human plausibility.

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