Slant Magazine's Scores

For 3,018 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Gangs of Wasseypur
Lowest review score: 0 Always Woodstock
Score distribution:
3,018 movie reviews
  1. Though its ballast of jokes and spectacle are formidable, it often lurches about at a remote, enigmatic distance
  2. What sets Undefeated apart from the usual underdog sports story is how the filmmakers emphasize the importance of mentorship as something separate from on-the-field interactions between coach and player.
  3. The emotional and political point through all this isn't to be taken lightly, but because the entirety of the film has such a nihilistic temperament, its effect is muted.
  4. The documentary veers between repetitive and didactic pronouncements of a call to inaction and more affectionately told stories about Koani's life as an "ambassador wolf" on the elementary school circuit.
  5. Anthony Wong does a creditable job of conveying Ip Man's reflectiveness through his twilight years, occasionally cutting through the hagiographic nature of the enterprise.
  6. An admirable refusal to adhere to any overexposed poverty-porn templates, however, is taken a little too far in the opposite direction, to the point that the film feels self-consciously shapeless.
  7. The film is incredibly cynical, but the experience of watching it is occasionally joyful in its sense of freedom.
  8. It only scratches the surface of the mass psychological wounds and trauma that the trials unleashed on the Germany psyche.
    • 85 Metascore
    • 63 Critic Score
    Girlhood is so keyed to the minutiae of its teenage protagonists' lives, it's as if the film can't stop itself from behaving like they do.
  9. The film thrives on ambiguity, keeping all things blurry outside its main character's focused perspective, its myopia sustained by Luminița Gheorghiu's tough, quietly intense performance.
  10. It finally offers little more than a moderately engaging slice of contemporary aboriginal life that mostly fails to dig beneath the surface of this underrepresented world.
  11. Peter Ho-Sun Chan and Deonnie Yen Chan are too resourceful to let things remain dull for long.
    • 73 Metascore
    • 63 Critic Score
    It's likely, then, that the film was directed by Susanne Rostock the same way Belfonte's new memoir, My Song, was written with Vanity Fair's Michael Shnayerson: to articulate, polish, and edit what the vociferous and at times alarmingly honest Belfonte wants to tell us without injuring his credibility outside of the left any further.
  12. In the end, the film's misstep isn't some failure at being sufficiently morally gray. In being the thriller that it is, it smudges the palette beyond recognition.
  13. Álex de la Iglesia has a real flair for wild action sequences that remain exhilaratingly coherent and sensical.
  14. The doc is too enamored with Cenk Uygur and his convictions that it hews more closely to being a conventional and one-sided biographical portrait.
    • 75 Metascore
    • 63 Critic Score
    The humanization of these antiheroic outlaws doesn't feel forced, but it does feel engineered, and there's never a viewer investment to match the story's wide expanse.
  15. Killer Elite is pleasurable enough, but with a steadier hand, it could've been one for the books.
  16. Kirby Dick's films don't go far enough in explaining how a culture of rape can pervade in vastly different institutions, but they're ruthless about holding them accountable.
  17. With the foul-mouthed dramedy Friends with Kids, writer/producer/director/star Jennifer Westfeldt is juggling so much, it's a wonder there aren't more jokes about balls.
    • 62 Metascore
    • 63 Critic Score
    This complex emotional texture no doubt owes a lot to Bello's stunning performance, which works by screwing with the familiar conventions of reaction shots; she goes cold when we expect her to freak out and explodes when we expect her to be silent.
  18. Despite being a nasty and skillful action film, The Day goes off the rails in the final stretch.
    • 67 Metascore
    • 63 Critic Score
    The documentary's lack of a cohesive thesis may frustrate at times, but its power lies in its exposition of the mundane.
    • 42 Metascore
    • 63 Critic Score
    The film recognizes how resolutely derivative it is, and it deigns to relish rather than efface that quality. The result is a trifle, but a fairly amusing one.
  19. Haney's movie is not great cinema, nor was meant to be, but as an introduction to one of the myriad dangers threatening our earth, it serves its cause well enough. And that, after all, is the whole point.
  20. Mahdi Fleifel's usage of a domestic archive of home-video images inherited from his father lends the doc a simultaneous sense of historical gravitas and intimacy.
  21. The film is a testament to the power of video to document resistance to corrupt and abusive regimes, but it's also a witness to the limits of that power.
  22. Love is both a many-splendored and painful thing according to Love Etc., a multi-subject documentary about the various states of amour that, while never succumbing to glibness, also fails to rise above superficial geniality.
  23. To Keira Knightley's credit, she's all too willing to undercut her pretty-girl reputation by looking and acting a fool for Lynn Shelton's camera.
  24. It fails to go deep enough, suggesting an appetizer offered as an opening to an ultimately unserved meal.

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