Slant Magazine's Scores

For 2,324 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 9.5 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 Jobs
Score distribution:
2,324 movie reviews
  1. Shifting between wacky situation comedy and somber familial drama, Why Stop Now? isn't invested enough in either mode to convincingly pull off its genre-hopping ambitions.
  2. Further confirmation that agitprop documentaries have become wedded to a template that undermines their very arguments.
    • 55 Metascore
    • 38 Critic Score
    If this sounds like the premise of one of those tiresome Discovery Channel docu-tainments, it's because it essentially is, only heavily abbreviated to fit the feature-film format.
  3. The Good Doctor isn't a ponderous bore because Blake isn't a strictly good or bad character: It sucks because he isn't even a compelling character.
  4. While the heart of the movie is the at-times strained relationship between the two leads, it all unfolds rather by the numbers, dictated more by the expected arc of such things than the demands of the characters.
  5. This adaptation of a prize-winning Australian novel is a stodgy slog save for some sporadic moments of blunt force supplied by Judy Davis and Charlotte Rampling.
  6. If a fourth entry wasn't already in the works, [Rec] 3: Genesis could have easily represented the nail in the franchise's coffin.
  7. Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong.
  8. After a promising entrapment scene that offers some casually eerie narrative details, the film collapses, lurching awkwardly between a variety of tones and intentions.
    • 52 Metascore
    • 38 Critic Score
    A tonal hodgepodge ever at odds with itself, Tomasz Thomson's unctuous, tongue-in-cheek debut is far too self-satisfied with its jokes for any to really be funny.
  9. End of Watch is pure frat-boy fantasy, the video game to Southland's great American novel.
    • 48 Metascore
    • 38 Critic Score
    The fight choreography has a gracefulness bordering on elegance, and so it's a shame that these standalone thrills aren't better integrated into the film as a fully formed narrative whole.
  10. Tim Burton's sense of playfulness feels forced throughout, and as the film progresses, any humor or inventiveness takes a backseat to tumultuous set pieces that reference Frankenstein.
    • 48 Metascore
    • 38 Critic Score
    Unlike his father, Gotham Chopra is more interested in his own latent daddy issues than with questions of cosmic import.
    • 45 Metascore
    • 38 Critic Score
    Some of the basic pleasures of the original remain intact (nobody shoots up a small room of bearded Eastern European men like Neeson), but ultimately the film feels compromised.
  11. The film walks a questionable line between Important Issue seriousness and antsy video-game machismo.
  12. Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film.
  13. Sex and love are both novel experiences for two high schoolers in this talky affair that suggests a hybrid of Before Sunset and Some Kind of Wonderful.
  14. The doc's straightforward and chronological structure is its own worst enemy.
  15. Paranormal Activity 4 sadly continues the series' downslide, most drearily with a mid-film twist that enables the filmmakers to go about essentially remaking the second entry.
  16. Do we really need another cautionary tale about an ambitious drug dealer dramatically falling from grace?
    • 15 Metascore
    • 38 Critic Score
    Silent Hill: Revelation fundamentally misunderstands the appeal its source material.
    • 72 Metascore
    • 38 Critic Score
    Nothing but broad, pandering indexes tailored to appeal to the arcade wistfulness the film never even bothers to convincingly evoke.
  17. We're supposed to take their self-pity at face value, an impression that's emphasized by a grinding monotonous humorlessness.
    • 64 Metascore
    • 38 Critic Score
    The film's cynicism, like everything else, is nothing more than empty posturing, a fashionable pose adopted to ingratiate itself with a disenfranchised public.
  18. Director Erik Canuel fails to deliver us from the inevitable hermeticism of the material.
  19. The filmmakers bite off far more than they're able to chew, resulting in an odd blend of touched-upon topics.
  20. An uncommon example of purely allegorical cinema, Paul Fraser's film foregoes plot almost entirely in favor of thematic resonance.
  21. None of Eric Bana's mildly rousing moments clearly rise above the laborious gobbledygook that Ruzowitzky builds up through the course of the film's 94-minute duration.
  22. Edward Burns certainly doles out his fair share of family turmoil, but he admirably doesn't make lunatics out of his characters.

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