Slant Magazine's Scores

For 4,280 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 8.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 You're Next
Lowest review score: 0 Mother's Day
Score distribution:
4280 movie reviews
  1. The film plays like one of the Grateful Dead's seminal concerts: protracted and digressive, yet intricate in its design.
  2. Until its hasty climax, Cate Shortland's film is rewardingly patient and psychologically cogent.
  3. The film's plot crux isn't romantic fatalism, but 2017's cutest manifestation of trendy gaslighting.
  4. Steve James is clearly positioning the film as a rallying cry, and its weaknesses as art might bolster its strength as reformatory theater.
  5. The film has a calming and inevitable quality, and a leisurely sense of pacing that favors image and sound over narrative propulsion, that slows our own biorhythms, fostering our sensorial empathy with the passengers.
  6. It suffers by resembling arty, didactic bloat when it most begs for a more sophisticated dramatic touch.
  7. It combines the brooding intensity of a slow-burn thriller with the high-flown ornamentation of a gothic melodrama.
  8. The film's problem isn't so much the grossness of its humor as the laziness with which it's executed.
  9. The Thomas Vinterberg film's sentimentality is suspect, laced with an intriguing but vague strain of bitterness.
  10. Writer-director Robin Swicord's film seems content to merely carry out its absurdist premise until the bitter end.
  11. Andrzej Wajda's film is a lean, unwavering look at the effects of artistic idealism in the face of fascist doctrine.
  12. The only saving grace of the film's mostly recycled horrors is how they deepen Michael Fassbender's android David.
  13. Here the organic and the frivolously material aren't oppositions or rivals, but partners in a spectacle for men's eyes only.
  14. Devos's impressive debut bores into the mourning process and its piquant combination of emotional numbness and sensory vulnerability, rigorously avoiding finding an easy way out of this quagmire.
  15. The mother-daughter relationship ostensibly at the film’s heart is largely reduced to tired jokes about how moms can be overprotective and don’t understand how to use Facebook.
  16. For all the attempts to update King Arthur to be cool and sexy, neither the character nor the film around him musters any spark.
  17. If there’s anything worth mulling over about The Drowning, it's the way it proffers the East Coast couple as an inevitably miserable institution without really meaning to.
  18. Hounds of Love builds to a crescendo that earns its emotional catharsis while staying true to its roots as a truly chilling and intense thriller.
  19. Rama Burshtein allows us to form our own impressions based on what she presents to us of the Orthodox faith.
  20. It has the decency to recognize that only Elián González has the right to define his sense of truth for himself.
  21. The Wall packs a surprisingly savage punch by boiling the exploits of battle down to its essential elements.
  22. The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.
  23. In the film's best scenes, Jeff Grace displays a delicate understanding of various modes of male fragility.
  24. The film hovers between being a straight-up biopic of Zweig and a diagnosis of neoliberalism's recent ceding to neofascist policy and nationalistic fervor.
  25. Schilling and Healy never quite overcome the fact that Take Me is a suspense comedy that simply isn't very suspenseful or very funny and, just as importantly, never finds a thematic through line.
  26. The main character is too often pushed to the sidelines so that the filmmakers can indulge tired family-drama tropes.
  27. Like its protagonist, Philippe Falardeau's film gets lost in a haze of incidental cacophony.
  28. The film at one point offers the finest sustained act of emotional storytelling to grace a Marvel Studios production.
  29. Feras Fayyad's film is broadly concerned with portraying the titular Syrian city as a community of neighbors and colleagues.
  30. The film follows its refugee subjects closely but with a physical and narrative distance that respects their independence.

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