Slant Magazine's Scores

For 2,392 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 Under the Skin
Lowest review score: 0 The Moment
Score distribution:
2,392 movie reviews
  1. The film devolves quickly into a pedestrian character study that basks in Gary Webb's public shaming and victimization, losing sight of the bravery and probing talent that characterized his writing.
  2. By formally acknowledging the material's inherent silliness ad nauseam, the filmmakers have distanced themselves from the spirit of the parody, robbing it of its gruesome pleasures.
  3. The film itself is a lumbering tank of a movie, chunky, loud, and clumsy, mulching down men into meat as proof of its dramatic seriousness and gloomy worldview.
  4. It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
  5. Jorge R. Gutierrez subsumes the film's darker themes in a relentlessly busy farrago of predictable kids'-movie tropes and annoying attempts at hipness.
  6. Gregg Araki's film suggests a hothouse melodrama that's been drained of the hothouse, the melodrama, and any other discernably dramatic stakes.
  7. There's edifying information in the documentary, but it's tainted by forced dramatic tactics.
  8. There's only so much that Fanning's vividly expressive face and Hawkes's charismatic sensitivity can mask before we realize how little we truly understand what goes on in anybody's head.
  9. Irony is a popular pose struck throughout these shorts, which are less revealing of the existentialist despair that death often rouses than they are of their makers' prejudices.
  10. For a story so unconventional, it's executed without director Alexandre Aja's typical commitment to anarchic awe.
  11. In abandoning a more vigorous discussion of class and race-based senses of entitlement, Marshall Curry reveals his goals to be less critical or rigid than passively honorific.
  12. Given the liberties the film takes, it's surprising that it refuses to penetrate Alan Turing's carnality and allow Benedict Cumberbatch to truly wrestle with the torment of the man's sexuality.
  13. Much like his hero, Christopher Nolan's goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
  14. Timidity and perhaps fear, of visual confinement, of lingering emotional engagement, closes Nacho Vigalondo's most promising windows.
  15. The film places its characters in a reflexive historical continuum that dooms them to be mere demonstrative types from start to finish.
    • 37 Metascore
    • 50 Critic Score
    The cinematographic approach of the film suggests some unholy hybrid of the aesthetic and genre indulgences of Michael Bay and the hyper-literalist plot construction of Christopher Nolan.
  16. Perhaps Karen Leigh Hopkins's intent was to subtly suggest the surreal aspects of the story, but ultimately she underplays her hand.
  17. There's much more plot floating around during the sequel, all leading up to a climax at the "KEN Conference" that suffers in comparison to Silicon Valley's mockery of the same milieu.
    • 21 Metascore
    • 50 Critic Score
    Yell the word "independent" loud and long enough and people might forget that they're seeing the same old, patronizing Hollywood clichés, recycled, rebranded, and regurgitated for their gullible, eager consumption.
  18. Florian Habicht unwisely shifts his focus from Sheffield and its unique denizens to the band's personal history, effectively turning the film into an episode of Behind the Music.
  19. 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.
  20. 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.
  21. Life lessons abound in Buck, most of them tied to endlessly reiterated comparisons between man and horse.
  22. 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.
  23. Under the modern mannerisms lies a rather clumsily Romantic -- one might say Wordsworthian -- rant that juxtaposes urbanity against a nebulous, fictitious past.
  24. 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.
  25. 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.

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