Slant Magazine's Scores

For 2,481 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
Highest review score: 100 Laurence Anyways
Lowest review score: 0 Act of Valor
Score distribution:
2,481 movie reviews
  1. The documentary will prove fascinating only to the die-hard fans that Freda Kelly spent years writing to, though in this case that's no small number of people.
  2. Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
  3. We're only allowed an insufficient glimpse of the anxiousness and curiosity that drive these creatures, a tactic which feels suspiciously like hesitance masquerading as enigma.
  4. A counterproductively "literary" film with no satisfying payoffs, Rutger Hauer's blind recluse notwithstanding.
  5. All Is Bright remains engaging, for the most part, but most of the big narrative turns feel both predictable and forced, and at odds with the natural charms of the cast.
  6. Though occasionally aesthetically alluring and evocative, feels like an introductory chapter to a more substantive, sprawling study of the actor.
  7. It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
  8. Billy Bob Thornton's ensemble Southern family dramedy fails to subvert its cutesy formula often enough.
  9. An overmatched star and a scarcity of eccentricity sink this hip-lit origin story from director John Krokidas.
  10. Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
  11. Is an exploration of sex addiction, in all its different manifestations, the new flavor of the week in contemporary American cinema?
  12. The film scores all of its thematic points early, commenting intriguingly, if ultimately rather obviously, on the demands of Japanese patriarchy.
    • 60 Metascore
    • 50 Critic Score
    As an adaptation of Davis Sedaris's short essay from his acclaimed 1997 compilation, Naked, it's a letdown, as it doesn't exude the pop of the author's trademark humor.
  13. The film is beholden to a strange internal logic that gives primacy not to its protagonist's suffering, but to its maker's thirst for fun.
  14. Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
  15. This sequel strenuously works to form a total inversion of the first movie's relationship with food.
  16. Director Declan Lowney's film operates from a conceit that affords only minor opportunities for true hilarity.
  17. The Peter Landesman film's overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for...something.
  18. The interpolations of "heavenly" sequences of Jeremy Lin playing basketball against CGI backdrops offer a hokey visual analogue for the intersection of faith and sports in his life.
  19. The ultimately forgettable Runner Runner is, for a gambling film, markedly risk-averse.
  20. The films that Robert Rodriguez emulates here are known for similar unexpected narrative turns, but the crucial value that he misses is their actual cheapness.
  21. Ralph Fiennes's film feels not so much rooted in the past as it is mired in conventions about how to portray that past.
  22. Not even when the doomed Juliet reaches for Romeo's dagger do you feel a single vicarious pain in your gut.
  23. The film smartly avoids the sort of cynical hijinks that characterize the majority of Vegas-set flicks, though it can't come up with anything more compelling to place in its stead.
  24. Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats, at the expense of elaborating on his main character's growing feelings of isolation and torment.
  25. Rocky's journey of self-realization undoubtedly has a universal resonance to it that intermittently yields poignant and inspiring moments. But where are the poor Indian kids in all of this?
  26. The documentary is dressed to the nines in pomp and patriotism, which seems meant to hide the fact that the film offers very little in the way of valuable reporting or insider information.
  27. Juliette Binoche's face, as we know, can tell a million stories in a simple and brief rearrangement of her facial muscles.
  28. The film ultimately doesn't live up to this early potential, as Keanu Reeves loses his way in the third act with too many false climaxes.
  29. The modern-day sections with Mariel Hemingway, while detailing the redemptive promise of the title, too often come across as either indulgent time-filler or overflow with PSA-level superficiality.

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