Slant Magazine's Scores

For 4,274 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Rosemary's Baby
Lowest review score: 0 Rites of Spring
Score distribution:
4274 movie reviews
  1. Emotional complication is what this film, so abundant in last-minute getaways, fake-outs, and half-hearted nods to the franchise's greatest hits, needed so as to elevate it out of its programmatic torpor.
  2. Writer-director Brian Taylor's Mom and Dad invests a hoary conceit with disturbing and hilarious lunacy.
  3. For liberals, The Final Year might become a kind of metaphorical marriage video that’s watched by divorcees who yearn of that initial hint of paradise.
  4. The film fails to seriously address Joseph Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe.
  5. This is a film about the adolescent pangs to belong that also mines its tale of magic and malevolence for an imaginative allegory about the excesses of scientific inquiry.
  6. The film is a doodle, but in its offhanded way, it effectively attests to the resolute nature of the Russian character.
  7. No matter how likable Sutherland and Mirren are, they're still stuck in little more than an upbeat wish-fulfillment fantasy.
  8. Babak Najafi’s Proud Mary is a so-so action melodrama with an insulting whiff of generic blaxploitation stylistics.
  9. The final optimism of the film's worldview lands with a conviction that's rare in contemporary Hollywood cinema—a resilience that's strong enough for Liam Neeson to ride out on.
  10. Wang Bing's documentaries are angry, raw testaments to the human spirit in the face of social injustice. In this regard, his latest, the harrowing, soulful Bitter Money, is fortunately no exception.
  11. A wilder, weirder, funnier, more heartfelt and eye-popping, and, above all, more fully realized representation of director Paul King’s eccentric sensibility.
  12. Writer-director Damon Cardasis follows a rather didactic approach to his 14-year-old's protagonist's plight in Saturday Church.
  13. Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
  14. Daniela Thomas seems stymied by her own images, unable to extract the turmoil and violence suggested by her story for fear of upsetting the austere surface harmony of her visuals.
  15. Ziad Doueiri's film is well acted and staged with periodic liveliness, but its earnestness grows wearying.
  16. At best competently mounted and at worst a case study in watering down chaos for an American market.
  17. Sam Hoffman respects his characters and evinces curiosity about their lives—and these qualities aren't to be taken for granted. But he isn't willing to disrupt his familiar and tightly structured plot.
  18. The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome.
  19. The film's mixture of sensationalism and self-conscious artiness is experimentally disingenuous at best.
  20. In attempting to grapple with issues of bullying, mental health, burgeoning sexuality, and pedophilia, the film bites off more than it can chew.
    • 79 Metascore
    • 50 Critic Score
    In Between is most affecting when its characters are at their least guarded, but as Nour, Salma, and Laila are hurt by those closest to them, Hamoud's film pulls back toward more formulaic expressions of conflict.
  21. The film's most crucial shortcoming lies in its failure to illuminate both the inner life of its subject and his artistic genius.
  22. Before I Wake's images have a pleasing straightforwardness that parallels the openness of the young protagonist's longing for love.
  23. Lost, or at least merely glossed over, throughout this hagiographic documentary portrait is the miraculous story of an effeminate Brazilian boy who was actually allowed to blossom through dance and who, because of such permission, has managed to survive his queer childhood a little more unscathed.
  24. Father Figures, which finished shooting more than two years ago before spending endless months without a release date, is both meandering and bloated, suggesting the Frankensteinian result of brutal test screenings.
  25. As released, All the Money in the World is by and large a conspicuously manufactured thriller that moves between manipulative psych-outs.
  26. Happy End reveals itself as something vacuous and cold, a bizarrely seductive pseudo-thriller lacking a thoroughly worked-out payoff.
  27. A welter of dissonant intentions, the film fails to seamlessly intertwine its elements of realism and fantasy.
  28. The film shows no interest in the inner workings of a relationship that’s defined by unusual circumstances.
  29. The Greatest Showman‘s spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.

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