Slant Magazine's Scores

For 2,681 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 9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Star Wars: Episode I - The Phantom Menace
Score distribution:
2,681 movie reviews
  1. Julia Leigh's take on the fairy tale is a study in detachment and unspoken dissatisfaction, traits that imbue the proceedings with a barely-contained sexual energy lurking beneath a thin veneer of calm.
  2. Oliver Laxe goes full-on meta by casting himself in the role of a visiting moviemaker who travels to Morocco to shoot footage with disadvantaged children living in a shelter.
    • 57 Metascore
    • 75 Critic Score
    The set pieces follow their own insane, unstoppable logic, with each new twist yielding its own outré surprises.
  3. The movie is unsurprisingly devoted to peddling up-and-comer Chris Thiele as something daring, something new.
    • 57 Metascore
    • 63 Critic Score
    "Why are there so few black surfers?" That's the question posed by Ted Wood's incisive, if ultimately repetitive, documentary White Wash, and to answer the question the film digs deep into US political and social history.
  4. Pawlikowski has crafted a film that throbs with substantial personal weight and bristles with a violent, haunting interior life.
  5. The film abounds in excruciatingly obvious, often precious, articulations of grief, where armchair philosophizing volleys back and forth with punishing abandon.
  6. In the documentary, the game is a make-believe war of pent-up frustrations linking race, nation, and manhood, one which teenage boys named Mohamed can actually win.
  7. A sense of anachronism is what provides the film with its melancholy heart.
  8. A cheeky dream-drama about the friendship between a rich, white quadriplegic and a penurious black job-seeker, the premise of The Intouchables alone nearly renders analysis redundant.
  9. The romantic elements are secondary to what is essentially an astute and cleverly written dissection of a co-dependent friendship being gradually eroded by the incremental ravages of age, rivalry, and rapidly diverging personal arcs.
  10. Not even Bernardo Bertolucci's choice of a lead actor with visible facial acne scars, in a welcome gesture toward authenticity, is enough to overcome the gaping hole of psychological nuance at the center of the film.
  11. Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
  12. János Szász's film is a thoroughly provocative WWII screed that almost deliberately goes out of its way to avoid sentimentality or bathos of any sort.
  13. Like many films that contrast the simplicity of a rural community against the confusion of city life, The Grand Seduction exhibits a patriarchal, xenophobic attitude.
  14. Given its played-out subject matter and hoary coming-to-terms narrative arc, one's ability to enjoy the film hangs on a tolerance for the ever-popular on-screen man-child.
  15. The Tickells' style is a predictable grab bag of interviews with outraged experts and journalists, TV news footage, and scenes in which the filmmakers (and, during one trip, fellow activists Peter Fonda and Amy Smart) make faux-daring journeys into the fray to bring back supposed realities that corporate America seeks to hide.
  16. A historical melodrama that retains an ancient, elemental pull even as it insufficiently charts motivation and the self-denying values of antiquity.
  17. There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
  18. The documentary is ultimately a dry endeavor that feels closer in spirit to an Afterschool Special than a full-blooded movie.
  19. The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
  20. The film works because what it documents is less a transformation and more a return to a former, more natural state for its troubled protagonist.
  21. This frothy 3D concert doc often plays like a Perry ad campaign, assuring viewers that their "Teenage Dream" diva is a good, fun-loving person, and that, by God, she's doing fine.
  22. With its softened edges, bland aftertaste, and watered-down distillation of Raymond's life and career, Michael Winterbottom's film represents the house champagne of biographical cinema.
  23. Perhaps thrown by the challenge of having to direct women as men and not just as themselves, director Rodrigo Garcia turns in what may be his poorest effort to date, opting for a nearly airless tone, presenting a look that's sadly un-cinematic, and presiding over a collection of performers that seem to be operating on very different planes, and with accents of varying thicknesses.
  24. The film is somewhat flimsy, tinged with the impulse to make the elderly characters just the right amount of ridiculous for the benefit of younger viewers.
  25. The astonishing footage of apes in their natural environment is made perfectly accessible and then nearly undone by a narration track that plays to the audience's basest desires for gag-inducing cuteness.
  26. This spirited enough yarn is sincere and heartening in its belief that our devotion to these youthful myths is healthy for our sense of wonderment.
  27. There's ultimately little in the way of authentically resonant drama underneath the film's self-conscious busy-ness.
  28. Limelight focuses far too much on the club's downfall and not nearly enough on what attracted its denizens there in the first place, managing only to preach to the choir, forgetting to also take it to church.

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