Slant Magazine's Scores

For 2,534 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 In the Mood for Love
Lowest review score: 0 Snowmen
Score distribution:
2,534 movie reviews
  1. 3
    3 is a smidgeon film. Take a smidgeon of scientific/ethical discussion, throw in a pinch of dance/poetry/dream sequences, tie the whole thing up with split-screen montages and you no longer just have a film about a love triangle, but a Godardian objet d'art.
  2. It's the film's unwillingness to deal with the sometimes hilarious and often problematic things its characters say and do that stands as one of its ultimate failings.
  3. The film ultimately fails to treat history as anything but a string of melodramatic reference points for moody characters haplessly trying to find love.
  4. Perhaps Karen Leigh Hopkins's intent was to subtly suggest the surreal aspects of the story, but ultimately she underplays her hand.
  5. It's disheartening that, despite some half-hearted overtures toward shifting the comedy paradigm, the filmmakers make little attempt to expand their comedic palette.
    • 71 Metascore
    • 50 Critic Score
    As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it's a tiresome sequel doesn't save it from being a tiresome sequel, even as Lord and Miller struggle to conceal the bitter pill of convention in the sweet tapioca pudding of wall-to-wall jokes.
  6. We may find out how Gedeck's character reacts to her isolation, but we're never privy to her actual feelings, largely because in a film about a sudden onset of solitude, Pölsler is far too afraid of silence.
  7. It takes few chances, frequently using sass as a smokescreen, hiding what's unoriginal and cheaply sentimental about this story behind a veil of witticisms about oblivion and "cancer perks."
  8. The whole thing comes out feeling kind of featureless, beaten flat by its own sense of fairness.
  9. The film transcends the déjà vu of its borrowed trappings but ironically sacrifices all momentum in favor of a long series of physical tests.
  10. Jan Ole Gerster seems infatuated with his main character, but to little avail beyond reveling in his aimless despair.
  11. Animation, motion graphics, and slow motion all pop up at some point, further splintering Sidewalls into a pandering pastiche of better films.
  12. This Polish "gay priest tempted" drama is almost as confused about the moral quandaries of its characters as they are.
  13. Hong Sang-soo once again corroborates auteurist theory at the same time that he reveals the potential shortcomings of its practice.
  14. A typically anodyne rom-com given a certain poignant piquancy by the paralyzing shyness of its romantic leads.
    • 83 Metascore
    • 50 Critic Score
    Go after Pina and you're going to have to go through a mob of modern-dance zealots first.
  15. While Nobody Else But You aspires to a kind of French Fargo, it forgets the primary qualities that made that film work.
  16. Limelight focuses far too much on the club's downfall and not nearly enough on what attracted its denizens there in the first place, managing only to preach to the choir, forgetting to also take it to church.
  17. The film is a sporadically entertaining, modestly ambitious shoot 'em up that frequently succumbs to spelling out its subtext.
    • 57 Metascore
    • 50 Critic Score
    The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters' existential or psychological crises.
  18. One is left wondering what exactly the now moldy "anything is possible" sentiments of our 44th president have to do with a music whose history and cultural meaning we've just spent the last two hours not learning nearly enough about.
  19. Puncture's story only moves forward thanks to Evans's charm. But a good lead performance can't single-handedly save thin material.
    • 52 Metascore
    • 50 Critic Score
    At heart a heist movie, snappy and dry in its humor, clever in its elaborate robbery scheme, and somewhat bloated and unspooled in its storytelling.
  20. The figure of the poor white girl whose sex work is justified by a really noble cause, set of circumstances or sheer charisma, is, of course, not a new cinematic premise.
  21. The film's moral lesson is too contradictory to be taken seriously.
  22. Exquisite looking but substantially hollow.
  23. The intersection between drug-company profiteering and lobbying, and governmental and private-sector desires to protect people from deadly diseases, is navigated too cursorily by the documentary.
  24. This film has too many weak, unconnected strands (what's the subplot about the narrator's father doing here anyway?), too much overtly expositional dialogue, and too unfocused a narrative to really cohere. And then there's that whole matter of expendable whores.
  25. What Lumet or Cassavetes often showed with a look, an image, a movement, Canet chooses to tell, and often at length, with the most heavy-handed dialogue imaginable.
  26. The movie blasts by for a while as an odd and busy slice of highly watchable garbage.

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