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 9.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Voyage to Italy (re-release)
Lowest review score: 0 Brother's Justice
Score distribution:
2,432 movie reviews
  1. The film is too standard-issue in its making to probe beyond the rough outlines of a success story.
  2. The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
  3. Alejandro Jodorowsky never manages to transcend the sense that he's indulging himself and participating in a hollow introspection unworthy of his prior cinema.
  4. It only conveys the awesome strangeness of its characters and their universe when director Brian Singer breaks away from the perpetual build-up of the film's unwieldy plot.
  5. The result is an alternately gripping and dully meandering patchwork of these soldiers' stay in the Korengal that pointedly shuns big-picture philosophizing.
  6. The titular signal refers to the Nomad hacker's taunts, though it may as well point to the film's nature as a self-styled calling card.
  7. Even at 74 minutes, the documentary comes to feel arduous in its recycling of the same points and imagery, the filmmaking as plodding as its subject is polished.
  8. It takes few chances, frequently using sass as a smokescreen, hiding what's unoriginal and cheaply sentimental about this story behind a veil of witticisms about oblivion and "cancer perks."
    • 35 Metascore
    • 50 Critic Score
    It's a formula with no pretensions.
  9. Unabashedly lefty sentiment colors the whole film.
  10. Steeped in De Palma's glorious violence and sinuous cinematography, but stripped of his tricky sensuality and his anarchic self-reflective wit, The Untouchables boils down to a lot of talk.
    • 71 Metascore
    • 50 Critic Score
    As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it's a tiresome sequel doesn't save it from being a tiresome sequel, even as Lord and Miller struggle to conceal the bitter pill of convention in the sweet tapioca pudding of wall-to-wall jokes.
  11. Jan Ole Gerster seems infatuated with his main character, but to little avail beyond reveling in his aimless despair.
  12. Both film and protagonist are troubled works in progress that shuffle and meander and frequently falter, but occasionally sing.
  13. It has the core of a genuine crowd-pleaser, but unfortunately something bigger and more all-consuming keeps getting into its head.
  14. Garrett Hedlund's performance throbs with an anguish that's far more honest than the sentimental euthanasia subplot at the center of the film.
  15. There's considerable talent on display in Exhibition, but it's the kind of thing people mean when they use the term "art film" as a pejorative.
  16. A well-intentioned story of an impoverished father searching for his missing child is muddled by an ambitious sociological agenda in Richie Mehta's film.
  17. Daniel Auteuil's less exercising diligent homage than indulging troglodytic cinephilia.
    • 70 Metascore
    • 50 Critic Score
    Writer-director Louise Archambault's neatly affirmative denouement is at odds with the more uncertain reality occurring at the edges of the film's drama.
  18. The constant foregrounding of so much well-executed incident only works to shortchange the heroes' yearnings and anxieties.
  19. What could have been a spirited dissection of Jay-Z's optimistic enterprise is instead merely an advertisement for it.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. A film of obvious characterizations and even more obvious plot machinations that render its moment-to-moment charms moot.
  26. 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.

Top Trailers