Slant Magazine's Scores

For 2,579 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 9.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Wake in Fright (1971)
Lowest review score: 0 The Victim
Score distribution:
2,579 movie reviews
  1. Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
  2. It could have used far more of King's mordant humor, which might have imbued the metaphorical autumnal proceedings with a much-needed jolt of pop anarchy, or even pathos.
  3. The film's visual construction is spare, drawing power from its locations and quietly matted miniatures, though ultimately it succumbs to powering a series of cheap thrills.
  4. It will come as a surprise to none that Grudge Match is so wantonly clichéd that to watch it is to explore the outer perimeters of one's own tolerance for a specific type of feel-good sports film.
  5. The tetchy band of thirtysomethings' interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.
  6. It would have been nice if the film had surrendered to its lunacy more blatantly, more carelessly.
  7. Winds up turning itself into just a rote thriller about psychos learning that, appearance notwithstanding, every family has dysfunctional problems.
    • 58 Metascore
    • 50 Critic Score
    The film obviously can't resolve the conflict between Palestine and Israel, but the resolution to the story's arc feels nonetheless forced and misplaced.
    • 74 Metascore
    • 50 Critic Score
    Leaves us moved by poignant scenes of victims' shattered lives, but, for reasons unclear, keeps the bullies themselves largely out of our reach.
  8. A film of obvious characterizations and even more obvious plot machinations that render its moment-to-moment charms moot.
  9. The film is too tepid in its treatment of its central character and her situation to generate any real emotive charge.
    • 60 Metascore
    • 50 Critic Score
    If director Asli Özge has said something about modern-day Istanbul, she's done it in fairly broad strokes that may be too far apart for the sake of a discernible narrative.
  10. A Slovakian character study of a boy ambivalently caught between worlds that ultimately squanders its promise.
  11. The film is an 80-minute shaggy-dog story about the seductive power of storytelling and the weird places it can transport us; too bad writer- director Todd Rohal doesn't take us any place worth going.
  12. The film begins as a moodily introspective drama about grief before implausibly morphing into a stale thriller.
  13. The filmmakers cut the film to emphasize the story's familiar plot points, rather than highlight any instances of personal visual artistry.
  14. When Jérôme Bonnell allows his two magnificent leads to work at the sparse dialogue, he invokes a powerful, elemental sense of frank, sexual discussion and high-end flirtation, imbuing the relationships with a maturity that's loathsomely rare in films today.
  15. The film is rife with tired food metaphors and plot twists so predictable you see them coming like travelers on the poplar-lined street that leads to the dueling restaurants.
    • 71 Metascore
    • 50 Critic Score
    Like its protagonist, the film sells out for the security of convention and complacency.
  16. The expansion has the unintended and unfortunate effect of doing exactly the same thing to Alexander he accused his family of doing in the first place: marginalizing him.
  17. It botches itself out of its own epic ambitions, an aesthetic slickness that seems to contradict, if not betray, its subject matter, and a maddeningly subdued critical spirit.
  18. Yet as is so often the case with the frat-boy genre to which this film panders, so many gags feel like desperate, self-conscious attempts to be outrageous that the effect of its abundant cursing and boob shots is more depressing than delirious.
  19. The film devolves quickly into a pedestrian character study that basks in Gary Webb's public shaming and victimization, losing sight of the bravery and probing talent that characterized his writing.
  20. Not even when the doomed Juliet reaches for Romeo's dagger do you feel a single vicarious pain in your gut.
  21. It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
  22. All Is Bright remains engaging, for the most part, but most of the big narrative turns feel both predictable and forced, and at odds with the natural charms of the cast.
  23. Billy Bob Thornton's ensemble Southern family dramedy fails to subvert its cutesy formula often enough.
  24. Despite the fact that Goodall narrates the bulk of the material, there are scant details about her concrete contributions to animal and life science save for her observing of chimp-made tools.
  25. An informative, if largely deferent, biographical documentary that tritely explains the ascendancy of Filipino boxer Manny Pacquiao.
    • 62 Metascore
    • 50 Critic Score
    The Louis Garrel character's mixture of self-containment and alleged possessiveness over his wife fails to convince, if not to irritate.

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