Slant Magazine's Scores

For 3,694 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Beginners
Lowest review score: 0 The Oranges
Score distribution:
3694 movie reviews
    • 49 Metascore
    • 63 Critic Score
    Sentimentality may make the movie's agony more digestible, but its darkness resists any glossing over of what isn't only France's, but Europe's painful legacy.
  1. As in Tizza Covi and Rainer Frimmel's 2009 film, La Pivellina, modesty is the key to The Shine of Day, and sometimes to the detriment of audience involvement and focus.
    • 52 Metascore
    • 63 Critic Score
    If The Weird World of Blowfly is any different from other documentaries about eccentric characters from music-world obscurity, it's in the contentious topics Clarence touches on in his cantankerous speech.
  2. Its vantage point too loosely assembles an argument by focusing, almost obsessively, on reassembling a tangible timeline of events.
    • 73 Metascore
    • 63 Critic Score
    An involving documentary that doesn't offer a convincing argument against solitary confinement for those who may not fully realize what's objectionable about it.
  3. The film works best when it shows Jonathan Daniel Brown's drug kingpin at his most inept and incapable, rather than elevating him to a pothead martyr.
  4. 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.
  5. It's most towering accomplishment are its set pieces, which manage to be brash, exhilarating, and even occasionally moving.
  6. From its title to its closing caress, Mads Matthiesen's film skates perilously close to the cliff's edge of mawkish sentiment.
  7. Although far from the worst offender in Disney's canon, The Lion King is nevertheless host to many of the less savory qualities common to the studio's output.
  8. From a purely suspenseful vantage point, Big Bad Wolves is an efficient and effective beast.
  9. The film busts a fierce move but never relishes the unique cultural essence that its gentrifying baddie threatens to snuff out.
  10. Like its predecessor, the film is a charming example of what great actors can do with mediocre material.
  11. Raze leaves the background particulars about this competition oblique, partly because it adds a layer of ominous mystery, but primarily because it doesn't matter; witnessing women-on-women violence is the thing here, regardless of any narrative context.
  12. The "male gaze" that often despicably and hypocritically surfaces in these kinds of films is pointedly absent throughout.
  13. The film evinces a clear-eyed sense of the limits that a capitalistic society places on its working class.
  14. A modest genre entry, Dream House also benefits from the fact that any movie with good enough sense to cast Elias Koteas is automatically better as a result, even if he is utterly wasted here.
  15. It winningly reflects how to utilize quiet understandings and, yes, very loud laughter.
  16. If the film's copycat visual artistry illuminates nothing, at least its script is sincerely devoted to probing Finkel and Longo's odd partnership.
  17. Ariel Kleiman fashions an erotic atmosphere of dusty sensuality that complicates our judgement of this world, but he takes shortcuts.
  18. With My Brother the Devil, writer-director Sally El Hosaini tells a story both operatic in its implications and quotidian in its sensory, day-to-day details.
  19. The tagline for the film reads "You Don't Become a Hero by Being Normal," and the film mostly lives up to that assertion, but only up to a point.
  20. The specific narrative handicaps throughout are mostly too banal to warrant exegesis, though the choice of vintage pop tunes for dramatic underscoring is particularly grating.
  21. Its performances are resourceful and affecting, with Chastain and Worthington in the past sequences, and Mirren and Wilkinson in the later chapters, exuding a complicated mess of responsibility, guilt, sacrifice, revenge, and regret.
    • 67 Metascore
    • 63 Critic Score
    For what often feels like an obligatory "Where Are They Now?" DVD extra, the documentary is surprisingly affecting.
  22. 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.
  23. Alex Gibney's latest lacks a certain cinematic depth, but that doesn't take away from its admirable reporting.
  24. 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.
  25. Wayne Kramer thankfully refuses to cloak his excessiveness in hedge-betting self-consciousness and the result is a gratifyingly disreputable B-movie blow out.
  26. Our Nixon never completely overcomes the disappointment of its recovered video, but it nevertheless offers a compelling portrait of Nixon and those close to him, one that captures how willfully blind they often were to their excesses, and how paranoid they were about apparent threats to them and America as a whole.

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