Slant Magazine's Scores

For 2,630 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:
2,630 movie reviews
  1. The bloat and heft of Marley's narrative scope leaves the viewer awash in a sea of historical "facts" with very little sense of the human experience behind the curtain of celebrity.
  2. There's nothing behind all this sturm und drang but a lineup of insubstantial ciphers, all false fronts and empty words in a pretend world not quite conducive to emotional investment.
  3. Garrett Hedlund's performance throbs with an anguish that's far more honest than the sentimental euthanasia subplot at the center of the film.
  4. In Joe Swanberg's disaffected little film, the drama is never explicit, or even fully conscious.
  5. While Steve James's documentary is persuasive on an informational level, it doesn't do enough to explore the human side of its subject matter.
  6. The Girl from the Naked Eye has heart, which is more than can be said of some other recent genre throwbacks, but it ultimately makes barely a splash.
  7. What's most disappointing about Romeo and Juliet in Yiddish is how it fails to deliver on the hybridizing NYC gimmickry of its title.
  8. Once it gets its nominal plot and character development out of the way, Bad Posture turns out to be pleasantly surprising.
  9. Fitfully engaging, but the documentary turns into a touchy-feely isn't-it-wonderful-we're-all-saved love fest as soon as the universalists begin to dominate the interview segments.
  10. Sini Anderson's film may be another unimaginative fan letter, but at least Kathleen Hannah is worthy of such devotion.
  11. The filmmakers delve into a fantasyland of luxe coastal casinos and neon-lit bathhouses--as shrug-worthy a stab at picturing the contemporary black market as could be requested.
    • 68 Metascore
    • 50 Critic Score
    The film never reaches a climax because it's always in one, distilling the lives of its characters to their tensest moments.
  12. The audience becomes conditioned to expect the action a few moves before the film makes them, which quickly renders the story tedious.
  13. It's all fairly by the numbers, but in Boeken's presentation, the film isn't without its moments of narrative power.
  14. In comparison to its superior predecessors, the film's redemption plot feels banal and slight.
  15. Steeped in De Palma's glorious violence and sinuous cinematography, but stripped of his tricky sensuality and his anarchic self-reflective wit, The Untouchables boils down to a lot of talk.
    • 52 Metascore
    • 50 Critic Score
    It plays everything safe, keeping all its edges rounded and its lips sealed in territory ripe for sociopolitical commentary, making even The Help's glib depiction of African American servitude seem nearly honest.
  16. With its softened edges, bland aftertaste, and watered-down distillation of Raymond's life and career, Michael Winterbottom's film represents the house champagne of biographical cinema.
  17. An unfocused mishmash that thrives only when it fixates on footage of actual bouts.
  18. While the documentary offers us a story that needs to be told, it does so in very non-Joffrey ways.
  19. For all of the director's willingness to explore his characters' unexpected depths, he's still hamstrung by his perpetually tasteful cinema-of-quality aesthetic.
  20. Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
    • 67 Metascore
    • 50 Critic Score
    While very informative, it doesn't work as an introduction to kibbutzim because it requires the viewer to have some prior knowledge of the history of Israel.
  21. The film gradually reveals a lot of unsavory motives, which ultimately deflate the buoyant virtues on which the film had blithely coasted.
  22. The actors play off one another beautifully, but the film bottoms out just as it's getting warmed up.
  23. The film is a study of grief that drowns in a cold bath of grim self-pity.
  24. The Dead ultimately doesn't have much of a pulse, as it fails to transcend the banality of its inevitable theme.
  25. 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.
  26. A once-precious franchise's weakest installment, which forgets these adventures' magic was never conjured by bells and whistles.
  27. Fails to dig too deep into the politics or inner workings of the new right-wing youth movement it profiles, remaining content with simplistic conclusions about pro-Putin thuggery.

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