Slant Magazine's Scores

For 4,280 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 8.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Dressed to Kill
Lowest review score: 0 The Last Face
Score distribution:
4280 movie reviews
  1. Even if the title is meant to be ironic, the latest from writer-director Neil LaBute is a frustratingly stilted vision of middle-aged repression unleashed.
  2. A mostly laugh-free, paint-by-numbers approach to a pair of former pros vying for relevance as they enter, kicking and screaming, into their mid 30s.
  3. It evinces a qualified kind of courage in its anonymous convictions, parodying a world that barely ever existed by barely existing itself.
  4. Unfortunately, the film's occasionally thrilling visual sleight-of-hand comes at the ultimate service of a boilerplate early-mid-life-crisis drama.
  5. It both feeds off of and perpetuates nostalgia for a time when the nation seemed more politically conscious and therefore more capable of creating lasting social change.
  6. As Zac Efront's Cole tiptoes away from his past, the film keenly observes a character who doesn't know how to secure his future, or his identity.
  7. The only way that this film could be any more racist is if the Dwyer family holed up with Lillian Gish and waited for the Klan to save them.
  8. It wants for a keener vision of corrupted power, but at least Mora Stephens navigates her main character's sudden slew of infidelities without banalizing them.
  9. The film all leads to a melodramatic climax that wraps up the main character's explosive acting out in a too-neat package.
  10. The film is one long funereal slog in which the main character discovers something about herself that's almost immediately apparent.
  11. The film squanders the promise of its scrutiny into how people recalibrate their sense of morality in times of crisis.
  12. A documentary whatsit acutely aware of the inherent performance people put into social discourse to maintain appearances.
  13. Character relations are hinted at and even primed for confrontation, but without payoff or meaningful conclusion.
  14. Every beautiful, resonant image in writer-director Alex Ross Perry's film is fraught with neurotic, diaphanous riddles.
  15. It merely exudes an aura of cheap manipulation by which the audience is simply asked to rank the film's characters on a d-bag scale and root for their survival, or destruction, accordingly.
  16. Writer-director Paul Weitz's proudly boisterous star vehicle for Lily Tomlin has about as many ambitions as it does delusions.
  17. The film is defined by its staunch refusal to clarify its characters' emotional issues, marooning them instead in the messes those emotions have wrought.
  18. If first-timer Aleksander Bach's choices as a director are any indication, he's a filmmaker who cares less about characters and actors than about dubious surface dazzle.
  19. A Bourne movie turned just askew enough to be funny, American Ultra trains a bemused eye on a trope ripe for a ribbing.
  20. Instead of using the titular metaphor as a means to seek deeper, darker ends, Isabel Coixet proceeds to restate it over and over again.
  21. Craig William Macneill's film is a sporadically frightening slow burn with a fatally overlong fuse.
  22. Rarely do the interviewees express their own thoughts on Beltracchi, as Birkenstock lets him speak for himself, for better and for worse.
  23. The unapologetic lack of political correctness never goes beyond a one-dimensional and tentative provocation.
  24. Reminiscent of Woody Allen's great, under-sung Manhattan Murder Mystery, it utilizes a pulp conceit as a shorthand for the regrets that bubble up in a marriage.
  25. Tom Shoval, who eschews stylistic flourishes in order to focus on character, leaves the film's heavy lifting to the actors and his own screenplay.
  26. Though J.P. Sniadecki doesn't elucidate any broad structural motive, his film gradually adopts an engrossing rhythm among its clatter of steel and ambient chatter.
  27. A hodgepodge of horny-old-man clich├ęs writ large, staged as a gleeful affirmation of its male lead's ego and entitlement.
  28. Familiar as its art/life paralleling may be, it's all fueled by a filmmaker with an intimate relationship to his subject matter.
  29. It's most towering accomplishment are its set pieces, which manage to be brash, exhilarating, and even occasionally moving.
  30. Its expositional crutch proves most inadequate when the team ascends the final pitch to the top after years of preparation in no more than a minute of screen time.

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