Slant Magazine's Scores

For 2,282 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 9.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 The World's End
Lowest review score: 0 33 Postcards
Score distribution:
2,282 movie reviews
  1. If you're wondering where the Jim Carrey of "Ace Ventura: Pet Detective" and "Dumb and Dumber" fame went, don't look to Mr. Popper's Penguins for answers.
  2. The result isn't drama so much as a waking nightmare of play-acting and predestined doom.
  3. One can never fully shake the feeling that the sense of unease the filmmakers rouse, every act of seduction, infiltration, and vengeance they orchestrate, is borrowed.
  4. This nearly pitch-black comedy is better than its tiresome use of '90s pop references, no matter how much they illuminate what the gals bonded over back in the day.
  5. It's a pretty tired proposition to complain about movies being manipulative, but Café de Flore sets the bar especially low.
  6. Wagging a limp dick at a host of up-to-the-minute issues, Wanderlust, manages to feel current, and relatively funny, without ever becoming particularly pointed, resulting in a floppy but satisfactory middlebrow comedy.
  7. The relationship between the two leads neither deteriorates nor seriously improves and last-minute romantic developments don't so much as give shape to the narrative as play as perfunctory gestures of closure.
  8. The film is a quiet, tender triumph that leaves you feeling as if you've been embraced without you feeling had.
    • 53 Metascore
    • 50 Critic Score
    As far as its subject matter goes, the documentary only scratches the surfaces, only reaffirming the simple idea that Internet censorship in China is prevalent and unfair.
  9. The titular signal refers to the Nomad hacker's taunts, though it may as well point to the film's nature as a self-styled calling card.
  10. At once hopelessly amateurish and given to desperate assertions of auterist "virtuosity."
  11. Jig
    Jig doesn't twist itself into the self-important, exploitative think piece on youth ambition that Spellbound was, but it does convincingly suggest that its subjects are in it for more than sport.
  12. The constant foregrounding of so much well-executed incident only works to shortchange the heroes' yearnings and anxieties.
  13. The frantic, grotesque imagery ironically only highlights Don Coscarelli's inability to truly cut ties with the constraints of accepted storytelling.
  14. The film takes pains to ensure that the story feel like laborious toil rather than a trip through the dark side of the ethereal.
  15. In focusing on predominately kid-gloves portrayals of her teen players, Kimberly Peirce never properly addresses the machinery behind their doom, which is why the film is relentlessly lifeless when it's not literally ripping off De Palma shot-for-shot.
  16. This safe, solemn tale of an aged artist whose vitality is briefly revived by a pretty young thing is unconvincing as an articulation of the potentially spiritual nature of the artist/model relationship.
  17. Justin Timberlake can't elevate what amounts to relatively simplistic, formulaic material, but his headlining turn exhibits sufficient charisma and wit to make In Time a passably diverting action-packed waste of time.
    • 52 Metascore
    • 38 Critic Score
    A tonal hodgepodge ever at odds with itself, Tomasz Thomson's unctuous, tongue-in-cheek debut is far too self-satisfied with its jokes for any to really be funny.
  18. This Polish "gay priest tempted" drama is almost as confused about the moral quandaries of its characters as they are.
  19. Roland Emmerich makes love of country into a thing of unabashed hokum, which bleeds through every nook of this overstuffed jumble and leaves no character untouched.
  20. The film ultimately doesn't live up to this early potential, as Keanu Reeves loses his way in the third act with too many false climaxes.
    • 52 Metascore
    • 63 Critic Score
    Uses the perils of immigrating to this country without papers as a backdrop for a poor white American woman's bumpy path to enlightenment.
  21. LUV
    As a film that largely works as a subdued twist on the familiar drama about crime and family, LUV needed more intimacy and focus.
  22. What the documentary lacks in the way of sophisticated filmmaking it compensates for with an earnest insistence on open dialogue.
  23. The Good Doctor isn't a ponderous bore because Blake isn't a strictly good or bad character: It sucks because he isn't even a compelling character.
  24. This time-tested project of tracing gayness back to when its shame was so explicitly enforced feels not only passé, and naïve, but mostly unproductive in a post-Judith Butler world in which drag queens are on TV teaching biological women how to better perform womanhood.
  25. Pang Ho-cheung can't help but humanize Vulgaria's characters, which is a kiss of death for what's meant to be a farce of escalating obscenity.
  26. Like their earlier Trouble the Water, Carl Deal and Tia Lessin portray men and women yearning for a simple place in society as they become casualties to the self-involvement of larger forces.
  27. The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.

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