Slant Magazine's Scores

For 2,246 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 Laurence Anyways
Lowest review score: 0 Wrath of the Titans
Score distribution:
2,246 movie reviews
  1. The film's tonal inconsistencies speak less to the struggles of its titular subject than to its own grasp-exceeding ambitions.
  2. Joseph Gordon-Levitt's directorial debut does for porn-dependence what Shame did for sex addiction by offering a surface-level look at the effects of its specific pathology on its lead male character.
    • 48 Metascore
    • 38 Critic Score
    Despite their supposedly good intentions, the comedian-filmmakers broach the doc's central subject with crass and offensive standup routines that wouldn't be out of place on the Blue Collar Comedy Tour.
  3. Remarkably, the highlight of Benson Lee's film, essentially a fiction reboot of his Planet B-Boy, isn't the scene where Chris Brown gets punched in the face.
  4. Enough can't be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener's latest articulation of white suburban anxieties.
  5. This window into the world of youthful competition almost entirely disposes of social awareness in favor of routine drama.
  6. Jim Mickle plays the scenario deadly straight and unintentionally exposes all of its attendant absurdities, leaving the cast stranded.
  7. Ron Howard's by-the-seat-of-your-pants aesthetic makes the slower, darker sequences feel hurried and bland, especially when stacked up next to the racing sequences.
  8. The songs still sound great here, but the instruments aren't amplified nearly as much as the nostalgia and vanity of the men who wield them.
  9. The film is dispiriting because there's virtually no sign of Dario Argento in it, nor of any novel motivation to mount yet another version of an oft-told tale.
  10. Ben Stiller's aesthetics blend overly manicured imagery with soaring rock songs that underline every emotion, lest the film's corporate logo-driven message-making didn't get the point across clearly enough.
  11. It's a pity that it hews to sitcom-like formula rather than using this bank of knowledge and sympathy to create something more original.
  12. The film is guilty of some of the same quick judgment it clearly doesn't endorse, exploiting Julian Assange's unmistakable appearance to help give itself a boogeyman.
    • 50 Metascore
    • 38 Critic Score
    While there's no doubt that a city's walkability is important, the film would have benefitted from either stats or testimonials in favor of its central premise.
  13. The viewer is informed of a world of chaos, obsession, and irresolution, but has no cinematic means of accessing or understanding it.
  14. The only truly graspable notion the film can be said to put forth is one of increasingly tedious sci-fi-romantic genre busy-ness.
  15. Sal
    It functions under the delusion that subtext will magically appear if you linger on a character long enough, and the significance of most of its scenes is nothing if not inscrutable.
  16. Gavin Hood relays a vague sense of what it's like to live in duty, and yet at a distance from one's home, but this vision of the future never rouses, never asks to be remembered.
    • 64 Metascore
    • 38 Critic Score
    It feels as if it set out to be an inspirational tale about underdogs beating the odds, but instead of giving color to the story, the filmmakers presented it with black-and-white ideas.
  17. Bruno Barreto's insistence that this pass for a product that Hollywood might have spawned smoothens a journey built on sharp edges.
  18. An egregious entry into the pantheon of films about white Americans traveling to exotic lands in search of identity and soul-searching adventure.
    • 42 Metascore
    • 38 Critic Score
    While featuring much screaming, accusations, collision of agendas, and the exhuming of dirty secrets, the film remains emotionally tone deaf.
  19. Nothing more than an absurdist soap-opera bauble.
  20. A cursory history lesson with no interest in probing the deeper or more complex implications of Mandela's positions and their relationship to his country's shifting landscape.
  21. The material plays out like a particularly busy episode of Sons of Anarchy, possessing a peculiar joylessness that's anathema to the success of films like this.
  22. Spike Lee's version loses the one thing that really worked in the original, the sense of moral complication emerging out of the intertwined action of two men hell-bent on retribution.
    • 25 Metascore
    • 38 Critic Score
    The conceit has the potential to be amusing, but the role-playing is never as funny or immersive as it could be, and the characters' repartee often feels more stilted than witty.
  23. Sergio Castellitto's film quickly turns out to be more interested in reveling in the secrets of its storyline than in its sentiments.
  24. A tale of memory and redemption that does little to linger in the mind and even less to decry P.L. Travers's claim that Disney turns everything it touches into schmaltz.
  25. Like his prior "The Kingdom," Peter Berg's film pretends to dabble in a frothy moral ambiguity, swiftly betraying its true aims with trigger-happy jingoism.

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