Slant Magazine's Scores

For 2,752 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:
2,752 movie reviews
    • 58 Metascore
    • 50 Critic Score
    Like a stiff Schwarzeneggerian conqueror making good on an "I'll be back," John Hyams returns to one-up the franchise again.
  1. As a film about social issues, and simply being yourself, it's commendably progressive, going so far as serving as a kind of coming-out story.
  2. Its dolly- and crane-operated polish points toward an acquiescence to Tinseltown mores, which until now Baron Cohen hovered cheekily above.
  3. Handsomely mounted and shot with an eye for nocturnal Parisian mystery by Guillaume Schiffman, Gainsbourg somewhat mercifully peters out after the grande scandale of the provocateur's reggae version of "La Marseillaise," which earned him the wrath of French patriots.
  4. 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.
  5. The chemistry between Pacino and his cast mates gives this lightly amusing contrivance surprising emotional resonance.
  6. Its greatest asset, and another trait it shares with Mann and Fincher's work, is a careful attention toward the particulars of its milieu in a way that doesn't call attention to those period touches.
  7. Eventually, the film's impressive array of formal pyrotechnics overwhelms its morals.
  8. By turns abrasive and stately, sermonic and impartial, plot-heavy and meandering, often within seconds of each other.
  9. The Prey doesn't have the obsessive pull of a great thriller, as it's undeniably an impersonal toy, but it's a hell of a toy.
  10. When Jérôme Bonnell allows his two magnificent leads to work at the sparse dialogue, he invokes a powerful, elemental sense of frank, sexual discussion and high-end flirtation, imbuing the relationships with a maturity that's loathsomely rare in films today.
    • 58 Metascore
    • 50 Critic Score
    More like an attempt to reenergize a franchise than rebottle the lightning that electrified the original.
    • 58 Metascore
    • 50 Critic Score
    It doesn't seem to have any pretensions beyond the regimented unveiling of a parade of odd occurrences, plodding along under the banner of absurdity.
  11. Hello Lonesome isn't really that much of a movie, but it has something that a number of more polished pictures in the same vein don't: human decency. Sadly, that's noteworthy.
  12. Lawless may be full of half-hearted overtures toward depth and emotional complexity, but the film's prestige sheen is mostly a sham; the real focus here is the irrepressible lure of bad behavior.
    • 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.
  13. The film never explores the depths and nuances that could actually place Jobriath in conversation with figures who came after him, however reductively.
    • 58 Metascore
    • 63 Critic Score
    In terms of Hollywood history, Bigelow's film is the perfect document of its time.
  14. A scintillating sci-fi throwback, Vanishing Waves draws inspiration from Stanley Kubrick and Andrei Tarkovsky, among others, but without feeling plagiaristic.
  15. The film is ultimately, and disappointingly, revealed to be a contraption that's less concerned with mental portraiture than with getting all of its expository ducks in a row.
  16. Too often Jimmy P. seems to struggle in making its interesting ideas apparent, leaving them stranded beneath the dry surface of an otherwise ordinary procedural.
  17. Bob Byington's perspective may be above it all, but that doesn't quite account for the shades of melancholy that pop up unexpectedly in lines of dialogue and in some of the performances.
  18. It's tructured in familiar, safe terms, plays for very low stakes, and appeals to no one so much as white, male teenagers with chips on their shoulders.
    • 58 Metascore
    • 50 Critic Score
    The film obviously can't resolve the conflict between Palestine and Israel, but the resolution to the story's arc feels nonetheless forced and misplaced.
  19. The film, still only clearing its throat, hints at a wellspring of emotional riches to come.
  20. This is one film that's overly reliant on a dubious central symbol, schematically employed.
  21. Never is there an Iranian perspective on the proceedings, giving the documentary the jingoistic bent its title implies.
  22. The question of why one should actually work up any emotional investment in what happens to these people is never really answered, much less asked in the first place.
  23. The film is just a stunt or, more specifically, a calling card, but that might be enough for anyone who's ever wanted to kick Mickey Mouse square in his padded, pious balls.
    • 58 Metascore
    • 50 Critic Score
    A remarkable story made almost unremarkable in the hands of lazy filmmaking.

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