Slant Magazine's Scores

For 2,281 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 9.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Score distribution:
2,281 movie reviews
  1. Michel Gondry bungles his adaptation of the Boris Vian novel by indulging in homespun craftwork at the expense of plot and character detail.
    • 40 Metascore
    • 50 Critic Score
    Jeremy Snead's doc comes off more as a commercial for a grand, overarching product that isn't finished being developed.
  2. The director diligently keeps her heroine's ego in check, and that's awfully principled of her, but her audience may feel as if they've inadvertently booked a trip with no destination.
  3. It treats its characters as placeholders for philosophical arguments and spends the majority of its running time trying to "solve" existential mysteries without adequately exploring them.
  4. The film is impersonal and populated with wisps of characters who spend most of the running time wandering around in the dark yelling at one another.
  5. Most disheartening is how the female leads aren't given ample space to develop as dynamic characters beyond the most urgent confines of the script's scenarios.
  6. A film of obvious characterizations and even more obvious plot machinations that render its moment-to-moment charms moot.
  7. Falls back on the trappings of the film's innumerable teenage gross-out forefathers with tiresome vulgarity and rote misunderstandings in place of genuine insight.
  8. James Franco's general aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
  9. Mark Jackson's direction strips much of the agency from any character's grasp by insisting that their dilemmas can only be revealed with stone-faced austerity.
    • 77 Metascore
    • 50 Critic Score
    One may feel dissatisfied by the 11th-hour turn toward lyrical fatalism, and mildly insulted by the presumptuous attitude it seems to choose as it sends us on our way.
  10. As if taking a cue from its own title, the movie emphatically sets its sights on the upward trajectory of Brown's career.
  11. Drina is less of an individual, and one whom we wish to see avenged, than a transparent martyr for the collective sins of the wealthy few.
    • 44 Metascore
    • 50 Critic Score
    There are many instances of questionable logic in Into the Storm, but the most persistent is the film's unexplained assumption that tornado-hunting is a growth industry.
    • 55 Metascore
    • 50 Critic Score
    The film is rife with tired food metaphors and plot twists so predictable you see them coming like travelers on the poplar-lined street that leads to the dueling restaurants.
  12. An immensely gifted physical performer, Donnie Yen isn't strong enough an actor to suggest an authentic inner life to his character beyond a vague sense of stone-faced dissatisfaction.
  13. Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
  14. The film lacks the manic fly-by-night invention of, say, Who Framed Roger Rabbit, or even the ripe erotic ambiguity of something like Avatar.
    • 56 Metascore
    • 50 Critic Score
    The film's attempt at political commentary amounts to a half-baked treatise on good governance in the face of tyranny and socioeconomic exploitation.
  15. Down to its too-crisp rubber Nixon masks, Daniel Schechter's film revels in obnoxiously self-aware period detail.
  16. The film predictably alternates in scaring its characters by tapping into their deepest fears and having them rub shoulders with the relics of a past that insists on being undisturbed.
  17. Stuart Murdoch clearly knows quite a bit about crafting pop tunes, but the film's consideration of the work of songwriting is totally flippant.
  18. For American viewers who don't know, the doc will be a worthy footnote to a long bout of deliberate cultural amnesia, but it's too telling that the Vietnamese remain in the background.
  19. The proceedings have such a rigidly determined structure, amplified by chapter titles, that the power and conviction in their recountings deteriorate into a placid series of back-and-forths.
  20. An accumulation of dread in search of a properly fleshed-out screenplay to sustain it, the film plays like a show reel for writer-director Nicholas McCarthy's considerable craft.
  21. Meticulous in its adherence to conventional narrative inducement, this biopic only offers a sanded-down and embossed vision of Stephen Hawking and Jane Wilde's 30-year marriage.
  22. Lilting doesn't have any momentum or any sense of ambiguity, once the setup has been established.
  23. The flippancy toward the story's thematic concerns and character construction suggests that the film, like the boxtrolls' myriad gadgets and inventions, was largely built from used parts.
  24. There's a comic streak to the film that suggests David Fincher may understand the material as trash, but it's the kind of affectation that only reinforces, rather than dulls, its insults.
  25. No matter how much Bertrand Bonello varies his split screens, triptychs, and geometric screen divisions, he forgets that one of the most fashionable virtues is knowing when to leave.

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