Slant Magazine's Scores

For 2,607 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Star Wars: Episode I - The Phantom Menace
Score distribution:
2,607 movie reviews
  1. 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.
  2. It affects a general air of artistically inclined realism, but it's mostly concerned with building tension via a steady accumulation of flatly conceived misery.
  3. The filmmaker's failure of empathy for those who strive to outlaw medicinal marijuana turns the protestors into hissable puritanical bad guys.
  4. 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.
  5. The convoluted mockumentary setup indicates that this is all meant to be taken as a meta exercise in Hollywood-insider rib-nudging, although the proceedings rarely rise to the occasion.
  6. 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.
  7. The Bay is Barry Levinson's most engaged and entertaining movie since "Wag the Dog," which isn't to say that he's given up his irksome predilection for a certain bullish type of liberalism.
  8. 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?
  9. 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.
  10. 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.
  11. A one-joke movie--a good joke, yes, but Brandon Cronenberg's agenda clouds the clarity that's needed to fully deliver the punchline.
  12. While Reversion sets up a complex communication platform for a universe being slowly ripped apart, it doesn't know how to relate this idea in human terms.
  13. No mutation is necessary to clearly see that Marvel's "reboot" of their signature franchise is an unimaginative remake of Sam Raimi's 2002 Spider-Man.
  14. There's ultimately little in the way of authentically resonant drama underneath the film's self-conscious busy-ness.
  15. 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.
  16. 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.
  17. For a story so unconventional, it's executed without director Alexandre Aja's typical commitment to anarchic awe.
    • 73 Metascore
    • 50 Critic Score
    The director glosses over rather than digs deep into such interesting aspects as the varied opinions of the men under Khodorkovsky who've had to flee the country because of him.
  18. The film avoids most of its genre's pratfalls, though it also shows little interest in transcending them.
    • 69 Metascore
    • 50 Critic Score
    Pixar's latest ultimately offers nothing more than a caricature of a well-worn conceit.
  19. 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.
    • 61 Metascore
    • 50 Critic Score
    As a film stupefied by its exotic setting, Oka! almost drops its walking stick of a plot as it wanders through the Central African Republic's jungle, getting blissed out on the sensuous delights of the surrounding wildlife and local Bayaka music.
  20. While The First Rasta never goes beyond the surfaces of conventional documentary making of the most average kind, its reticence becomes whimsical every time the elderly interviewees break into song soon after reminiscing.
  21. Though the cast partially eschews the family-friendly timidity that the film defers to in the end, this would-be wild thing remains little more than a rowdy endorsement of the status quo.
  22. 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.
  23. Felix Van Groeningen's film owes more than a debt to the unwieldy narrative schematics of Susanne Bier's narratives.
  24. Where Spielberg has made WWII a venue for his sanctimonious side, a platform to convince viewers that war is indeed hell, Lucas is still in a state of pre-adolescent fascination with the conflict.
  25. Lacking much in the way of character depth, the film attempts to fill the gap with melodrama.
  26. The moral dilemmas in On the Ice ultimately fail to resonate, Qalli's concluding plea for his flawed humanity coming off as strangely hollow.
  27. Its looseness adequately portrays Plimpton as an inwardly conflicted figure, but it fails to make much of a case for his legacy outside of The Paris Review's still-noticeable brand.

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