Slant Magazine's Scores

For 2,432 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 9.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Scarecrow
Lowest review score: 0 Nothing Bad Can Happen
Score distribution:
2,432 movie reviews
  1. McG may strip down his approach and serve up a variety of slick, well-paced shoot-outs and car chases, but his technical skill can't quite overcome the story's lazy sense of humor and incomprehensible account of international espionage.
  2. The premise might make sense, if only hypocritically, but the film abandons this already flimsy parody of macho pride disastrously at the last minute.
  3. The film's educational impetus is to announce to the world that even picture-perfect Norwegians continue to pay a heavy price for the horrors of WWII.
  4. The audience becomes conditioned to expect the action a few moves before the film makes them, which quickly renders the story tedious.
  5. A sexily chaotic parody of entitlement becomes just another tale of a white dude learning that there are worse things in life than essentially having no problems.
  6. An energetic but paper-thin genre exercise, filled with pleasant riffs on the standard heist flick, but ultimately lacking in payoff.
  7. Beyond the forthright identity politics and titillating theatrical misdemeanors, one still comes away wondering about the things that remain concealed.
  8. It botches itself out of its own epic ambitions, an aesthetic slickness that seems to contradict, if not betray, its subject matter, and a maddeningly subdued critical spirit.
  9. When Jérôme Bonnell allows his two magnificent leads to work at the sparse dialogue, he invokes a powerful, elemental sense of frank, sexual discussion and high-end flirtation, imbuing the relationships with a maturity that's loathsomely rare in films today.
  10. The film transcends the déjà vu of its borrowed trappings but ironically sacrifices all momentum in favor of a long series of physical tests.
  11. The film's clearest winner is Pat Healy, whose depiction of a man willing to corrode his entire life to provide for his wife and kid feels true despite the script's silliest moments.
  12. For the most part, it's a gas, but the light touch Raymond De Felitta gives the material is at once its saving grace and its tremendous limiter.
  13. What Lumet or Cassavetes often showed with a look, an image, a movement, Canet chooses to tell, and often at length, with the most heavy-handed dialogue imaginable.
  14. Adds up little more than an anguished man using the hook of following his famous brother in order to gaze, however critically, at his reflection for 75 minutes.
  15. Once the money shots of Darren Aronofsky's version recede, it becomes ever more clear that his intention is to tackle the capriciousness of Old Testament logic. And, ultimately, to assent to it.
  16. Less old-fashioned than demure and passé, evoking the visual style and rhythms of a 1990s made-for-TV movie rather than a daring, revisionist independent feature.
  17. The tetchy band of thirtysomethings' interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.
  18. Viewers' tolerance for Errol Morris's apparent sheepishness will hinge on their prior appreciation of the filmmaker's investigative acumen.
  19. What results is a lopsided, put-upon narrative of survival where humans, and not the animals themselves, are the ones to be celebrated.
  20. Daniel Stamm's film is solidly helmed, if expectedly over-reliant on unnecessarily grisly comeuppances that leave nothing to the imagination.
  21. Patrice Leconte struggles to find a coherent rhythm, a problem exacerbated by a hurried running time that compresses some of the novella's more interesting socio-political nuances.
  22. Charlie Paul isn't content to let his stock footage and interviewees lead for him, driven as he is to "make something out of a frame of mind," though to needlessly busy effect.
  23. As informative, revealing, and occasionally poignant as some of the unearthed revelations are, the doc is ultimately hampered by a level of self-congratulation that nearly undoes its effectiveness as an activist polemic.
  24. It labors under the illusion that an abundance of Sub Pop memorabilia is adequate substitute for the honest evocation of a creative subculture and the personalities of which it's composed.
  25. Even though the subtext about the past and modernity constantly being at odds throughout the setting's changing times is intriguing, the director presents this in a clunky, almost didactic fashion.
  26. It presents little that wasn't already done better in "Myth of the American Sleepover," an equally evocative tale of longing that was far more successful at matching teen tropes with atmospheric naturalism.
  27. The film is concerned largely with intellectual horrors and portrays the fight against slavery rather neatly as a growing feeling of internal guilt that slowly turns society toward the light.
  28. That it half succeeds, in spite of its cloying self-seriousness, means that it's at best a convincing copycat of a definitive expression of ego and influence in art.
  29. The narrative doesn't want for ambition, but Marc Webb proves unwilling, or incapable, of making this unwieldy story feel like anything but a deluge of backstory.
  30. The promo materials implore viewers to vote either #TeamFrat or #TeamFamily on Twitter, though the audience is way more likely to be split between #TeamPecEfron and #TeamByrneBoobsplosion.

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