Slant Magazine's Scores

For 2,252 reviews, this publication has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 9.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 The Color Wheel
Lowest review score: 0 Wrath of the Titans
Score distribution:
2,252 movie reviews
    • 38 Metascore
    • 38 Critic Score
    The film spoils the charm of its concept in the way it confuses the wish to be a Woody Allen-Julie Delpy lovechild with a cramping formalism that borders the theatrical.
  1. If you prefer your social commentary in the form of a glorified sitcom with broad humor and even broader caricatures, look no further.
  2. Under even the best of circumstances, Saving Lincoln would have to inevitably face the scrutiny of potential redundancy.
  3. The film takes on high-concept ideas that it can't sustain, and which only make its other problems more obvious.
    • 50 Metascore
    • 38 Critic Score
    Scott Stewart's Dark Skies is the definitive horror film for the Tea Party era.
  4. The director avoids all manner of stylistics, opting instead for the formulaic doc trifecta of first-person interviews, archival material, and news footage.
    • 59 Metascore
    • 38 Critic Score
    The documentary can at times feel like you're wasting your time on a subject you might wish you had only accidentally crossed paths with briefly on Wikipedia.
  5. It adds up to a methodically bland, intellectually sluggish exercise in guilt-tripping that's nonetheless still more interested in its rich and sexy characters than the supposed unfortunates.
  6. Due to the one-minded construction of the documentary, there's little to parse beyond impassioned harrumphs.
    • 56 Metascore
    • 38 Critic Score
    Dominik Moll never addresses Matthew Gregory Lewis's original groundbreaking ideas in the film, nor does he rework the material for a contemporary audience.
    • 48 Metascore
    • 38 Critic Score
    The estrogenic elements prove widely ineffectual, but they're just pieces of this overlong, overloaded misfire whose double-entendre title ultimately just goads the jaded viewer to admit defeat.
  7. It careens from one tonal extreme to the next, uncertain about whether it wants to be a gritty drama, camp artifact, or violent prison-sploitation flick.
  8. The highlight of the film is the moment Jim Sturgess's Adam inadvertently pisses on the ceiling.
  9. The film is overtly suspicious and critical of the new and only serviceably romantic about the old.
    • 51 Metascore
    • 38 Critic Score
    Brad Anderson's film is defined by an often frustrating combination of cleverness and stupidity.
  10. Yet another example of modern-family predicaments getting stuffed into the traditional-family-values message of conventional comedies.
  11. Generally, these shorts do little to advance their own arguments, but then again, they don't need to; if the short film is the arena of students, amateurs, and small-timers, then these are overdogs from frame one, coming off every bit as expensive and banal as their makers allow them to be.
    • 67 Metascore
    • 38 Critic Score
    Wayne Blair isn't interested in historical complexity or subtext, just the seamless flow of Hollywood-style storytelling that lazily connects one musical number to the next.
  12. The film takes more than a few pages from the James Cameron playbook.
  13. One wonders if the filmmakers ever asked themselves who their film was intended for, or if it was at least a consciously self-serving effort from the outset.
  14. The sheer wastefulness of Eran Creevy's Welcome to the Punch is off-putting enough, but the film is also falsely painted-up as a crime epic.
  15. A long string of picnics, portrait sessions, elaborate dinners, and countryside rituals, filtered through a svelte aesthetic pleasantness that ultimately corrodes its larger interests.
  16. A would-be thriller masquerading a long, dry monument to the reliability and comfort of community, blindly cocooned by its own nostalgic self-regard.
  17. Down the Shore suggests what might happen if TBS and Bruce Springsteen were to collaborate on a sitcom set in hell.
    • 35 Metascore
    • 38 Critic Score
    Rote, rushed, and utterly uninterested in the power of Stern as an innovator of image, making it effectively the opposite of the output of the artist it attempts to document.
  18. Despite the intensity of its scope and research, American Meat is a decidedly soft-hitting display of an overweening good faith that, frankly, just can't jibe with the times.
  19. While Atiq Rahimi's film may peel away the many layers of its female lead like an onion, the end result is still just an onion.
  20. Offers all the ingredients for a great feast of enticing visions and thematic concerns, only to have them be prepared, plated, and served with the grace of Elmer Fudd.
  21. Arvin Chen's Taiwan is dominated by eccentricity in tone and atmosphere, but in a very careful, pronounced way, as to never really run the danger of being truly strange.
  22. Michael Shannon has no interior to play with, since the film seems intent on ridding Richie of any emotion other than love for his family, and also no catharsis to build toward.

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