Slant Magazine's Scores

For 2,526 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 9.2 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 America
Score distribution:
2,526 movie reviews
  1. In the end, it feels unavoidably dull, as there isn't much thematic ambiguity to be found in the assertion that humans deserve life that's defined by more than indentured servitude.
  2. The movie is unsurprisingly devoted to peddling up-and-comer Chris Thiele as something daring, something new.
  3. Documentary director Victor Magnatti is more comfortable with loud and proud, and perhaps a tad suspicious of insinuation and circumspection.
  4. Jamie Dornan somehow manages to render his sculpted beauty moot, which throws a major wrench in the gears for a film dependent on eroticism.
  5. While everything here is mostly unspoken, and the film itself hints at a broader set of concerns than simply two lost souls meeting on foreign ground, Here too often feels like a jumble of ideas that don't quite cohere.
    • 67 Metascore
    • 50 Critic Score
    Unlike Waltz with Bashir, it only seems to be using animation in an effort to make blog diaries by twentysomethings appear cinematic.
  6. Alternating between self-consciously offbeat comedy and existential J-horror, It's Me, It's Me never quite satisfies in either mode.
    • 63 Metascore
    • 50 Critic Score
    Suffers from an overtly conventional way of depicting the life events of an anything-but-conventional woman, a lazy flaw further highlighted by its brief moments of visual experimentation.
  7. The promo materials implore viewers to vote either #TeamFrat or #TeamFamily on Twitter, though the audience is way more likely to be split between #TeamPecEfron and #TeamByrneBoobsplosion.
  8. The film lacks the immediacy of the Dardenne brothers' pictures, the electrifying sense that anything might happen, while also avoiding their penchant for redemptive resolutions.
  9. Mistaken-identity shenanigans and gooey romance are Monte Carlo's prime commodities.
  10. The interpolations of "heavenly" sequences of Jeremy Lin playing basketball against CGI backdrops offer a hokey visual analogue for the intersection of faith and sports in his life.
    • 86 Metascore
    • 50 Critic Score
    The Master is Paul Thomas Anderson with the edges sanded off, the best bits shorn down to nubs.
  11. Pablo Berger digs for emotional intensity in his gothic retelling of Snow White and only uncovers layers of gloss.
  12. The film belongs to a long tradition of horror films that offensively suggest that all atheists might as well hang a Welcome sign up for the devil.
  13. It presents little that wasn't already done better in "Myth of the American Sleepover," an equally evocative tale of longing that was far more successful at matching teen tropes with atmospheric naturalism.
  14. A human-interest story that claims spite for human-interest stories, the film has some pretty divisive issues at its core that leave it torn between contrasting approaches.
  15. Mark Jackson's direction strips much of the agency from any character's grasp by insisting that their dilemmas can only be revealed with stone-faced austerity.
  16. If the film were in fact a pastry, it might look like the first effort of a blind baker, wildly uneven and inconsistent in ingredient distribution.
    • 58 Metascore
    • 50 Critic Score
    Like a stiff Schwarzeneggerian conqueror making good on an "I'll be back," John Hyams returns to one-up the franchise again.
  17. The film never explores the depths and nuances that could actually place Jobriath in conversation with figures who came after him, however reductively.
  18. For much of its runtime, the film is simply there, decent for the most part, but at no point immersive.
  19. Despite the counter-culture subjects at its core, Daniel Algrant's film possesses a put-upon hipness that cannot mask its disarming dorkiness.
    • 51 Metascore
    • 50 Critic Score
    Director Aimee Lagos seems to be at odds with her own film, like a well-meaning but controlling parent hell-bent on choosing a child's college, major, and fraternity for them.
  20. An aesthetic showcase whose repetitive nature winds up diminishing the excitement of its breathtaking feats of mountainous flight.
  21. Yoav Factor can't decide whether he wants to play his broad scenario as an exaggerated farce or as a heartwarming testament to blood ties.
  22. It reveals itself to be a profoundly cynical movie posing as a work of idealism, and it's all the more insidious because it's otherwise so bland and forgettable.
  23. 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.
  24. The key to good, or at least effective, agitprop (and Oliver Stone and Michael Moore know this) is that, yes, it must simplify matters, but it necessitates canny presentation so that it may truly get into viewers' blood streams and rile them.
  25. Alternately maudlin and snarky, Norman just doesn't risk enough, and can be consigned to the status of what the school drama geek would call "some contemporary, obscure, teen-angst thing."

Top Trailers