Slant Magazine's Scores

For 4,201 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 8.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Her
Lowest review score: 0 Here Comes the Boom
Score distribution:
4201 movie reviews
  1. If the Footloose remake had its own signature dance, it'd be called the Push-Pull, as this hip-to-be-sorta-square movie, much like the small-town teens within it, has a mind for propelling itself toward a progressive future while continually being yanked back by cherished hallmarks of the past.
  2. For all the heartbreaking depth with which the filmmakers explore the horrors of human trafficking, the film still leaves one with a sense of a larger story just beyond their grasp.
  3. The banality of Marina Willer’s voiceover only goes to prove the old cliché that a picture is worth a thousand words.
  4. Habermann may not be a pragmatic classic of the "Army of Shadows" mold, but it falls within the upper-mid bracket of WWII movies because it doesn't attempt to understand or define the tragedy it approaches.
  5. This chronicle of two athletes throwing baseball's funkiest, least respected pitch is given depth by their stranger-than-fiction underdog status and camaraderie with mentors who've had the same struggles.
    • 45 Metascore
    • 63 Critic Score
    Tsai's most off-putting work is nonetheless worthy of intense and ongoing consideration.
  6. The film may not reimagine our sense of how the ties that bind bad men are rewritten in times of war, but it nonetheless gives a casually electric sense of how hardscrabble lives persist in such times.
  7. While I still protest Bay's too-hasty cutting (many shots are good enough to warrant a few extra seconds), his set pieces, and his sets, are magnificently entertaining.
  8. While the Nitro Circus's many achievements are impressive, they pale in comparison to those of Knoxville and company's.
  9. This is, to put it mildly, a lot of information for one documentary, which inevitably devolves to resemble not so much an anthology as a slideshow of genocide's greatest hits.
  10. Despite its often-overwhelming nonsensicality, there’s ultimately something irresistibly fiendish about Silent Hill, which not only condemns holier-than-thou religious zealots, but also—if I understand its gruesome finale—seems to be firmly on the side of the Devil.
  11. It's all showy viscera, no ballet, and wan attempts at the gravity of something like Drug War, with implicit statements made about the deadening nature of violence or the moral equivalency of state-sanctioned and criminal force, don't come close to cohering.
    • 57 Metascore
    • 63 Critic Score
    That’s the trouble at the center of the benign but tepid ganja-classic Up in Smoke: Its toking Abbott-and-Costello duo are so content to simply drift away in clouds of smoke that the audience is often left behind looking for the jokes.
  12. Though it may boil down to your average procession-of-talking-heads template, it's still enlivened by the raucous words from the band of outsiders who supported and launched Divine into the limelight.
    • 39 Metascore
    • 63 Critic Score
    Complacent with road-movie tropes, director Ralf Huettner and screenwriter Florian David Fitz's Vincent Wants to Sea is likeable insofar as it's familiar.
  13. The film's ruefully honest tone is periodically drowned out by the blare of stagey coincidences.
  14. The film exudes an elemental, intriguing mysteriousness, a reminder that things remain unseen and in a state of unrest.
  15. A potential barroom joke blossoms into a surprisingly poignant portrait of three aging men wrestling with how to shed their mortal coil.
    • 65 Metascore
    • 63 Critic Score
    While it may not pack the rollicking drama of his first feature, Street Fight, Marshall Curry's timely If a Tree Falls: A Story of the Earth Liberation Front likewise chronicles the personal tale behind political headlines.
  16. The characters' emotional vacancy feels like another auteurist tic to which Yorgos Lanthimos is dauntlessly committed.
  17. The film seems more interested in its art design then in fully developing the story's underlying sexual ethics.
  18. The film finally seems conspicuously at odds with itself, neither funny nor impassioned enough to pass as an accomplished vision of transnational welfare.
  19. The surest sign that a filmmaker recognizes the insularity of his or her project is the presence of perfunctory attempts to hint at a wider political context.
  20. When the appeal of the film's whimsy wears off, the fogginess of its historical perspectives comes to the fore.
  21. All told, there's an ageless warmth to The LEGO Movie akin to that of the LEGO brand itself.
  22. The film's expected rehash of recent pop-culture totems is accompanied by a novel attention to millennial-centric debates about entitlement and identity politics.
  23. People matter in Matthew Lillard's film; genre not so much.
  24. Sunao Katabuchi displays a vivid, shattering awareness of how domestic routines can spiritually ground one during a time of demoralizing chaos.
  25. The allure of the road not taken and Saoirse Ronan's performance exert a powerful pull.
  26. Asthma inevitably becomes another film about a man airing out his traumas and hitting all the requisite marks on his path to healing.

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