Slant Magazine's Scores

For 4,394 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 8.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Deep End (1970)
Lowest review score: 0 Lazy Eye
Score distribution:
4394 movie reviews
  1. Transparently wearing metaphors on its singed sleeves, the film shuttles around courses of meaning and significance without committing to any.
  2. First-person accounts from individuals most affected by the drop in agricultural productivity are rarely the focus of the film's vision.
  3. Despite all this macabre torment, It's Such a Beautiful Day involves a lot of sweet, plucky humor that represents a discreet softening of the angry sarcasm for which Hertzfeldt has become known.
  4. It may be described as a Yasujir├┤ Ozu drama done in the Romanian style; if only there was more to distinguish it beyond such extra-textual concerns.
  5. The film at first plays like a refresher and throwback to Hayao Miyazaki's Kiki's Delivery Service, before revealing itself to be less minimal than minor.
  6. It depicts counterculture where those stranded outside the barriers of conventional society seek to push past natural boundaries to intermingle with the metaphysical in midair.
  7. The film's images, so continually heartrending so as to never become redundant, effectively function as visual proselytizing.
  8. A good story, full of life and related with intelligence and a sense of humor.
  9. The film feels utterly infatuated by the cop/crook dividing line long-since drawn, if not flogged, by Michael Mann.
  10. Even stronger than its predecessor, which didn't quite go as far in terms of representing these young women in a wider context.
  11. George Miller orchestrates the rubber-burning pandemonium with the illicit smirk of someone who knows he's giving us exactly what we want.
  12. Highly polished yet never quite slick, it devolves now and then into cartoonish cutesiness with its broadly drawn minor characters.
  13. It weaves through past and present, memories and reality, analysis and history, like a mercurial mind reminiscing seemingly at random.
    • tbd Metascore
    • 50 Critic Score
    Overall, the film's educational prerogatives tend to overwhelm its more interesting formal properties.
  14. It sticks firmly to a Kerouac-lite immersion into young love rather than a more provocative portrait of the hazards inherent to modern urban life.
  15. The doc emerges not so much as a glimpse into the mind of a dying artist than as a factual drama on how loved ones are impacted by an individual's death.
  16. It has a problem that's familiar to competently made, sporadically involving crime procedurals: It's just good enough to inspire wishes that it were better.
  17. Never is there an Iranian perspective on the proceedings, giving the documentary the jingoistic bent its title implies.
  18. The documentary takes an equivocal stance, implying that just because a film should not be shown doesn't mean that it should be banned.
  19. A pageantry of pseudo-art poses, a self-consciously cool reorientation of the western as silly symphony.
  20. Like other Niccol films, Good Kill is about an essential innocent who dreams of release from a highly structured, classist, and hypocritical environment.
  21. It perverts cinephilia by asserting that anyone who engages in criticism actually, deep down, wants to be a practicing artist.
  22. The lack of tangible dramatic follow-through leaves the film feeling incomplete, indistinguishable from so much other undercooked festival fare.
  23. As characters endlessly digress on the differences between rom-coms and real life, the film evinces a schizophrenic relationship with its own inside-baseball cynicism.
  24. The only thing that could've made Sofia Vergara's misguided contribution grislier would have been to fellate a Chiquita banana.
  25. The film uses its male-on-male boundary-leaping to give the shopworn man-boy narrative a refresh.
  26. The filmmakers attempt to acknowledge the pain of warfare within the framework of a redemptive story that lends it an unforgivably patronizing sense of closure.
  27. Throughout, Sonja Bennett embodies slackness as an affectation, not a raw response to a culture of authenticity-killing productivity.
  28. In the end, Bent Hamer's view of current international relations comes to down to a treacly rendition of "Kumbaya."
  29. Ira Sachs, for all the tenderness of feeling he brought to Love Is Strange, wouldn't have countenanced the stacked-deck sentimentality that lies at this film's heart.

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