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. At least it doesn't make the biopic mistake of attempting to check off every moment of a man's life over the course of a few hours' worth of running time.
  2. Sophie Barthes neglects to thoroughly conceive of Emma's plight, instead making only sporadic gestures to it.
  3. Formally, it relies on a bevy of spectacularly funny clips and a plethora of talking heads, most of which fall back on plaudits rather than sage insights.
  4. In lieu of advancing a view of the dead's dominion that doesn't abide by the law of "just becauses," Chapter 3 is often content to wink at the ways the first two films spooked audiences.
  5. If ever there was a movie equivalent of dad bod, Entourage is it.
    • 76 Metascore
    • 75 Critic Score
    The film's inferno of horrors are undoubtedly visceral, but psychologically implosive rather than entrails-exploding.
  6. Robert Duvall's evident admiration for his wife are typical of this film, in which so much seems touchingly sincere but clumsily expressed.
  7. The film's subtitle is apropos, as this is a decidedly locked-down and lead-footed talk-o-rama.
  8. This is the kind of filmmaking that gets touted as "workmanlike" when it's really straight-laced to the point of tepidness.
  9. Spy
    It's the sustained, full-bodied mania of Melissa McCarthy's performance that anchors the film's many winning blind-alley gags.
  10. Throughout, Saverio Costanzo hypocritically drapes his scenes in a cloak of faux-empathy.
  11. It finally offers little more than a moderately engaging slice of contemporary aboriginal life that mostly fails to dig beneath the surface of this underrepresented world.
  12. Bill Pohlad seems never to have met a metaphor he couldn't bludgeon into its most rudimentary and literal interpretation.
  13. It confirms the Roy Andersson universe as one of near-fossilized similitude, in which any effort or movement is disruptive, revealing new cracks in the set illusion of order.
  14. The opposite of enlightenment, the film hides its anxieties behind a mélange of third-rate grit and playful xenophobia.
  15. As in Rodney Ascher's previous film, Room 237, the subject of obsession is complemented by a despairing attempt to process it, corral it, and somehow conquer it.
  16. Appropriately, the images in the film, the most fluidly beautiful and resonant of Nathan Silver's career thus far, suggest flashes of memory relived from the vantage point of the future.
  17. After a while, the film's sing-a-song-for-the-world vibe, so buoyantly optimistic at first, becomes grating and smug.
  18. In Brad Peyton's San Andreas, the biggest earthquake in recorded history is less natural disaster than divorce negotiation process.
  19. Writer-director Daniel Peddle's anthropological concerns never really wed themselves to a sturdy narrative bedrock.
  20. The film dabbles in the French romantic-comedy tradition and simultaneously spoofs it, committing to neither.
  21. The film's troubled aesthetics are exacerbated by a screenplay that contains the trappings of amateur toil, including dialogue that harps on innocuous moments and trifling exposition.
  22. Andrew Bujalski seizes upon physical training as a resonant metaphor for the work and risk that are inherent in cultivating significant interpersonal connections.
  23. If the documentary isn't quite dynamic in its revelations, it's considerably more so in its challengingly essayistic presentation.
  24. It effectively implies that the subjects' troublemaking is the stuff of transience, a phase before they're ushered into the realm of adult responsibility.
  25. The film settles into a time-honored groove of so many forgettable juvenile comedies before it.
  26. It's the cinematic equivalent of a pat on the back accompanied by a slap in the face.
  27. In Brad Bird's film, the way forward is backward, on a path that stumbles into misplaced nostalgia and dicey humanism.
  28. Tom Six has achieved the seemingly impossible: He's made a film even less watchable than "The Human Centipede II."
  29. Yael Melamede doesn't dwell on each of her subjects' stories beyond the condensed version that's related on screen.

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