Slant Magazine's Scores

For 2,385 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 The Long Day Closes
Lowest review score: 0 Cold Fish
Score distribution:
2,385 movie reviews
  1. Played as broadly and as crudely as you please (in terms of acting, direction, "edgy" dialogue), Prince of Swine paints a grimly ugly portrait of male sexual violence and female submission.
  2. Shut Up Little Man! fails to legitimize its topic as one of any significance.
  3. The key to good, or at least effective, agitprop (and Oliver Stone and Michael Moore know this) is that, yes, it must simplify matters, but it necessitates canny presentation so that it may truly get into viewers' blood streams and rile them.
    • 45 Metascore
    • 38 Critic Score
    Despite Lurie's part-time efforts to lend the film some sense of place, the impulse to hot-ify everything from Peckinpah's considerably more earthbound original ultimately outpaces his meager good intentions.
  4. Naturally, given the film's somewhat precious air of spiritualism, the parroted phrase that speaks most clearly to Lyman is a quotation from the book of Ecclesiastes that gives the film its title and gives Fiona a chance to offer a blithely optimistic interpretation of that most dour of Biblical books.
    • 35 Metascore
    • 38 Critic Score
    Watching Faris's reactions to the bizarre material that makes up this film is like witnessing someone with a weird sense of humor make a string of jokes that no one's even catching.
  5. Blackthorn's last-man-standing circumstances, far from a cautionary tale about the cost of the gunslinger life, are glorified as the height of macho nobility.
  6. There's a girl, and she's prone to dirty acts, but that's just one patch of this arbitrarily stitched quilt of white-trash, Bible-Belt transgression, which flattens under the weight of a truckload of half-realized ambitions.
  7. Adhering to what is apparently a formula for national superproductions, 1911 throws dates and names on the screen with unceasing speed and frequent irrelevance -- gratuitously identifying a walk-on as "German diplomat."
    • 76 Metascore
    • 38 Critic Score
    The film seems almost to have been produced spontaneously, by gears of a larger system as they mesh together right this instant, culled from the ether with the words "Customers Who Also Liked Dogtooth and Winter's Bone Liked This…"
  8. There's no spark or humor to the film's situations, just the sense of capable actors trying to make the best of a hopeless situation.
  9. The film is so careful to avoid the luridness that would seem inevitably to accompany an excavation of child kidnapping, forced labor, and rape, that the result is a plodding, overly tasteful procedural that holds up its hero as an incorruptible embodiment of goodness.
  10. Alternately maudlin and snarky, Norman just doesn't risk enough, and can be consigned to the status of what the school drama geek would call "some contemporary, obscure, teen-angst thing."
  11. As ticklish as one might find the idea of an equivalent Mr. Bean character occupying the driver's seat of a James Bond parody, it's likely that even a competent manifestation of such a scenario would pale in comparison to what Mike Myers and Jay Roach pulled off with apparent ease in their Austin Powers films.
  12. Anonymous leaves one bereft of any meaningful knowledge of these personages or the theatrical energy of their age, and earns the obscurity it figures to acquire even if the war between Team Edward and Team William blazes on.
  13. What unfolds is a predictably anguished story of true love thwarted by material circumstances, or in the terms dictated by the film, rationality triumphing over romance.
  14. Covered in tattoos and clinging to wisps of their outsider status, the men profiled here seem assured of the novelty of their dilemma, as if they were the first generation to settle into a middle-class existence after a youth spent on the fringes.
  15. Rather than organically develop its characters, it charts their evolution via silly outfit changes, treating the early '80s as a costume bin for flavor-of-the-week aping gags, with the band going from Gary Numan style shirts and skinny ties to lavish glam-rock costumes.
  16. Shame articulates a shallow, even mundane, understanding of an uninteresting man's sex addiction-in a vibrant city rendered dull and anonymous.
    • 89 Metascore
    • 38 Critic Score
    The Artist neatly sidesteps this unsolvable dilemma by ignoring everything that's fascinating and memorable about the era, focusing instead on a patchwork of general knowledge, so eroded of inconvenient facts that it doesn't even qualify as a roman à clef.
  17. Like most of the film's performances, Sisley's comes off as flat and impenetrable, the result both of a certain stoical conception of character and the dissipation of focus that arises from the movie's perceived need to encompass so much.
  18. There's something about these films, something about the working-over these songs suffer--a wrongness that's intangible but inescapable, like the unseen menace of a bad dream.
  19. The Tickells' style is a predictable grab bag of interviews with outraged experts and journalists, TV news footage, and scenes in which the filmmakers (and, during one trip, fellow activists Peter Fonda and Amy Smart) make faux-daring journeys into the fray to bring back supposed realities that corporate America seeks to hide.
  20. The purpose of Lynne Ramsay's hodgepodge approach is to distract us from the flimsiness of a story that suggests a snide art-house take on "The Omen."
  21. An ugly rendering of an infantile script that constantly exploits stereotypes for cheap guffaws, and employs the hollow trend of hoping ultra-specific, zeitgeisty lingo will distract from inert, derivative storytelling.
  22. Unlike AMC's Breaking Bad, meth here doesn't reflect current, perilous economic realties; rather, it's just a low-rent drug used by degenerates whose lives say nothing about anything.
  23. When does intensity and commitment supersede historical understanding?
  24. Nuri Bilge Ceylan has to be the least kinetic of working filmmakers - and not simply in the sense of static camerawork or lack of narrative momentum.
  25. A slice of slight character-driven conventionality in which directorial sensitivity and drama rooted in tense conversations and intermittent blow-ups prove incapable of imparting depth to a tale that plays like a series of simplistic stock gestures.
  26. The film's contradictory and nullifying dilemma of wanting to be both scripted and vérité at once, a plight that affects so much contemporary TV, is temporarily quelled in heated scenes of curse-laden levitation and Linda Blair contortion, which dutifully deliver the scares.

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