Slant Magazine's Scores

For 4,084 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 8.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Star Wars: Episode I - The Phantom Menace
Score distribution:
4084 movie reviews
  1. The film is at its sharpest when Chris Kelly hands scenes over to his main character's family and friends.
  2. Liberal Arts provides a peek into what makes Josh Radnor tick, and what he cares about outside his mainstream-targeted sitcom.
  3. The obstacles and opportunities that Patti encounters are often rote, but her struggles and triumphs are detailed with a gravity that honors and elucidates her feelings.
  4. Peter Bratt's documentary sharply trumpets Dolores Huerta's life and centrality in the turbulent history of social justice since the '60s.
  5. The film is thematically thin, and it has a tendency to embrace the action genre's more obnoxious elements, but there's a proudly no-nonsense air to its nonsensicality.
  6. The film soon settles into a confident, well-staged groove, primarily because of two unambiguously terrific performances.
    • 61 Metascore
    • 63 Critic Score
    Makes room for tender moments of reflection from a guy who, against impossible odds, still managed some victories, the biggest of which may be that he's still standing.
  7. And that's the thing with Epic: It's something close to an animated masterpiece, provided it's watched on mute.
    • 54 Metascore
    • 63 Critic Score
    When The Pact descends, finally, from suggestion to explication, the scares regrettably slink away.
  8. It does astounding work animating the mind of its young soldier, but it runs into technical difficulties whenever it tries to grasp the bigger picture.
  9. A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
    • 40 Metascore
    • 63 Critic Score
    The film's unlikely combination of didacticism and sexy teen slaughter signals a booming trend: the Occupy horror flick.
    • 76 Metascore
    • 63 Critic Score
    Given Dave Grohl's reputation for versatility and good taste, the film's sturdy sense of forward motion may come as no surprise.
  10. A cheekily gruesome and genuinely urgent entertainment, Blomkamp's latest nevertheless can't help but beg the question: Where's Snake Plissken when you need him?
  11. An enormously effective piece of filmmaking, Incdendies unfolds as a series of eye-opening disclosures which Villeneuve plays as much for (admittedly enthralling) sensation as for any kind of wider-ranging inquiry, a questionable approach given the thorny nature of the material.
  12. Though relentlessly and admirably logical, the movie constantly glosses over the buried human element.
  13. The film dispenses with sensationalism, engaging with Chris Burden's most notorious work on its own terms.
  14. It has the decency to recognize that only Elián González has the right to define his sense of truth for himself.
  15. Lake Bell holds the thing together through sheer charisma, and in fact the foibles of the movie only start to show when she absents herself for extended stretches of time.
  16. What the film lacks in narrative unity and aesthetic splendor it makes up in moral grandeur and ethical purpose.
  17. 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.
  18. The choice of low-grade, handheld digital images further reduces the film to the clichés of revisionist literary filmmaking.
    • 65 Metascore
    • 63 Critic Score
    In spite of the film's exhaustive chronology, those who deduce from its title that they're in for an unveiling, or an unraveling, of a major literary figure may come out empty-handed.
  19. There's so much baggage involved in the kind of dilettantish games Jamie and Crystal are playing that it's a shame that the film never fully engages with these enticing issues.
  20. This is cinema’s most comprehensive look at the gruesome business of necropsy since Stan Brakhage's The Act of Seeing with One’s Own Eyes.
  21. In its philosophical and criminal investigations (largely imported from Kathryn Bigelow's original), the film moves in dozens of illogical directions, but not without achieving a patina of earnest credibility.
  22. Though his film's feel is pure Iraq and Afghanistan, Fiennes doesn't push those parallels unduly, and his central performances prove clear, nuanced, and incisive.
  23. An anthology of found-footage horror shorts that exudes, sometimes extraordinarily, a neophyte's sense of courage and cluelessness.
  24. Using a whirlwind of archival footage, maps, and split screens, Edmon Roch conveys Juan Pujol Garcia's reign as Europe's premiere spy in a constantly fluid fashion, aesthetically mimicking his crafty and cagey nature.
  25. Canners plays a bit too infatuated with its subjects and for reasons not wholly clear by the film's end.

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