Slant Magazine's Scores

For 2,394 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 9.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Under the Skin
Lowest review score: 0 The Darkest Hour
Score distribution:
2,394 movie reviews
    • 72 Metascore
    • 50 Critic Score
    Amy Nicholson's documentary feels warm and fuzzy about its subject, but at the same time depersonalized.
  1. Though the cast partially eschews the family-friendly timidity that the film defers to in the end, this would-be wild thing remains little more than a rowdy endorsement of the status quo.
    • 58 Metascore
    • 50 Critic Score
    Its main character's moral predicament with a woman inside a pit becomes a muddle of confused symbolism and trite psychoanalysis.
  2. For all of the director's willingness to explore his characters' unexpected depths, he's still hamstrung by his perpetually tasteful cinema-of-quality aesthetic.
  3. Claude Miller's swan song not only shares its main character's name but also her tempered disposition.
    • 70 Metascore
    • 50 Critic Score
    If Santiago Mitre doesn't transcend the issues of the writer's film with quite the grace of A Separation, he nonetheless manages to make good use of a fine cast.
  4. Walks a fine line between empathetic treatment of its characters and voyeuristic freakshow gazing.
  5. The movie blasts by for a while as an odd and busy slice of highly watchable garbage.
  6. As Renny Harlin's career progresses, it seems more and more that his early gems were merely happy accidents.
  7. The film rarely takes us past its rather obvious conclusions about the potential bestial nature of kids and how that may translate to the larger battlefields.
  8. The documentary will prove fascinating only to the die-hard fans that Freda Kelly spent years writing to, though in this case that's no small number of people.
  9. Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
  10. We're only allowed an insufficient glimpse of the anxiousness and curiosity that drive these creatures, a tactic which feels suspiciously like hesitance masquerading as enigma.
  11. A counterproductively "literary" film with no satisfying payoffs, Rutger Hauer's blind recluse notwithstanding.
  12. All Is Bright remains engaging, for the most part, but most of the big narrative turns feel both predictable and forced, and at odds with the natural charms of the cast.
  13. Though occasionally aesthetically alluring and evocative, feels like an introductory chapter to a more substantive, sprawling study of the actor.
  14. It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
  15. Billy Bob Thornton's ensemble Southern family dramedy fails to subvert its cutesy formula often enough.
  16. An overmatched star and a scarcity of eccentricity sink this hip-lit origin story from director John Krokidas.
  17. Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
  18. Is an exploration of sex addiction, in all its different manifestations, the new flavor of the week in contemporary American cinema?
  19. The film scores all of its thematic points early, commenting intriguingly, if ultimately rather obviously, on the demands of Japanese patriarchy.
    • 60 Metascore
    • 50 Critic Score
    As an adaptation of Davis Sedaris's short essay from his acclaimed 1997 compilation, Naked, it's a letdown, as it doesn't exude the pop of the author's trademark humor.
  20. The film is beholden to a strange internal logic that gives primacy not to its protagonist's suffering, but to its maker's thirst for fun.
  21. Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
  22. This sequel strenuously works to form a total inversion of the first movie's relationship with food.
  23. Director Declan Lowney's film operates from a conceit that affords only minor opportunities for true hilarity.
  24. The Peter Landesman film's overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for...something.
  25. The interpolations of "heavenly" sequences of Jeremy Lin playing basketball against CGI backdrops offer a hokey visual analogue for the intersection of faith and sports in his life.
  26. The ultimately forgettable Runner Runner is, for a gambling film, markedly risk-averse.

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