Slant Magazine's Scores

For 2,113 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 9.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Scarecrow
Lowest review score: 0 America
Score distribution:
2,113 movie reviews
  1. Putting aside the generic human interest, the film turns out to be shockingly deficient in its on-screen depiction of flexing.
  2. The sex in Nymphomaniac is inhuman, mechanical, boring, and predictably viewed through the (male) scrim of someone who characterizes women solely as withholders.
  3. Despite one or two moments of Venture Brothers-worthy fancy, the film is as by-the-numbers as any this series has ever offered.
  4. It ultimately offers little more than another opportunity for famous actors to indulge their fetishistic, inadvertently condescending impressions of "everyday" people.
  5. As the film is focused solely through the lens of the titular characters' cameras, this limits the exploration of the story's worldview outside of Hank and Asha's perspective.
  6. The cruelly obvious third act congeals the film as a wet-eyed monument to the Kevin Costner character's particular brand of American manliness, one that values gut instinct, it's implied, over cold and ruthless calculations.
  7. It rarely feels like anything more than an effort to pander to the kind of audiences that enjoy Quentin Tarantino's films for all the wrong reasons.
  8. If you programmed an algorithm to figure out how The Lawnmower Man might be retold by Snake Plissken at the conclusion of Escape from L.A., you'd still wind up with a more recognizably human effort.
  9. The film is clearly wary of either being too saccharine or taking itself--or the notion of compulsive infidelity--too seriously, though its schadenfreude is unwavering.
  10. Jon Favreau's film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
  11. Only the very charitable would characterize this strain of providence as anything other than dumb, or at least incredibly forgetful.
  12. The film straddles a very awkward line between creature feature, conspiracy thriller, and domestic drama, all without novelty or suspense.
  13. Throughout, it becomes difficult to know whether we're meant to empathize with these characters or laugh at them.
  14. Atom Egoyan is a much better director when he drops the art-film fanciness and wrestles directly with his inner voyeuristic weirdo.
  15. At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
  16. The filmmakers only bother to lay out comedic set pieces that are simply family-friendly big-budget variations on Jackass stunts.
  17. Like many films that contrast the simplicity of a rural community against the confusion of city life, The Grand Seduction exhibits a patriarchal, xenophobic attitude.
  18. We may have all wanted to know the story behind those famed horns, but the mystery was far preferable to having Maleficent de-fanged and de-clawed in the process.
  19. An art-house con destined to make viewers who've ever used the term "mindfuck" as praise rack their brains trying to come up with alternate readings for a film that invites many but convincingly offers none.
  20. Frontloaded with a surprising amount of plot, the film takes forever to get going, but it's the filmmakers' hypocrisy that really grates.
  21. That this retrograde "straight talk" somehow managed to emerge on screen as a reasonably genial ensemble comedy speaks to the strength of its performers.
  22. For all of the supposed passion and anguish in Saint Laurent's clothing and relationships, Jalil Lespert consistently neglects to imbue the film with such a comparable level of ambition or desire.
  23. Just as queerness is conspicuous by its absence, so is any serious consideration of the drug use that often pairs with extended tastings of EDM.
  24. A jump scare isn't just a jump scare in the films of Scott Derrickson, which isn't to say this wannabe master of horror has entirely perfected the art of sudden dread.
  25. Ben Falcone's film is an almost plotless doodle, with low stakes made even lower thanks to the bratty passivity of its titular antiheroine.
  26. An inept trifle, Pascal Chaumeil's film reduces Nick Hornby's novel of the same name to a series of smug self-help gestures.
  27. Paddy Considine's benumbed ambiguity at least works against writer-director Shan Khan's reduction of honor killings to grist for the cheapest of pulpy thrills.
  28. If The Hangover was a boorish blackout fantasy for our binge-drinking age, The Hangover Part II is something like the contents of a fraternity house's toilet the morning after an insane kegger-namely, regurgitated elements of a more entertaining prior adventure.
  29. Rather than a mature, multifaceted approach, the director's portraits of Dubai, Beirut, Riyadh, and Cairo are heavy on still-photo montages comprised primarily of smiling young people and spontaneous encounters with random jokesters.
  30. Kitsch sprung from the lame imagination of adults who probably wish their tweeners lived their lives like Judy Blume characters.

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