Slant Magazine's Scores

For 2,681 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 9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Star Wars: Episode I - The Phantom Menace
Score distribution:
2,681 movie reviews
  1. Down the Shore suggests what might happen if TBS and Bruce Springsteen were to collaborate on a sitcom set in hell.
    • 75 Metascore
    • 38 Critic Score
    A surprisingly shapeless true-crime farce which never creates a convincing context for the odd relationship between a pious East Texas mortician and his sugar mama.
    • 55 Metascore
    • 38 Critic Score
    The doc doesn't take the time to examine why Burning Man inspires such a level of fanaticism, overshadowing human interest with a gluttony of B roll.
    • tbd Metascore
    • 38 Critic Score
    Feels like one of those thin, audio-visual supplements on an artist that you casually view as you browse a gallery show.
  2. The film is reduced to a series of unfunny mockery laid out so Garlin can display his trademark deadpan reaction.
  3. Ken Urban, adapting his own play, fumbles at injections of urban, and decidedly not urbane, levity, in addition to telegraphing entire subplots.
  4. It adds up to a methodically bland, intellectually sluggish exercise in guilt-tripping that's nonetheless still more interested in its rich and sexy characters than the supposed unfortunates.
    • 70 Metascore
    • 38 Critic Score
    Unlike Pamela Tanner Boll's truly inquisitive "Who Does She Think She Is?", which delves deeply and personally into the lives of a handful of working artist moms, Hershman Leeson introduces us only superficially to her dozens of pioneering friends.
  5. 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.
  6. The premise of faith-based assisted suicide as a motivating factor for a madman's killing spree is initially intriguing, but quickly revealed as solemn window dressing.
  7. The film abounds in excruciatingly obvious, often precious, articulations of grief, where armchair philosophizing volleys back and forth with punishing abandon.
    • 27 Metascore
    • 38 Critic Score
    It may suggest an Alien incarnate, but once you get past its exterior, it's as empty as outer space.
  8. It's sense of complexity is giving us masses of people moved by Simon BolĂ­var's words, and gorgeous sweeping vistas of the landscape backed by a stirring orchestra.
  9. 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.
  10. Oh, the things that money can buy.
  11. The film suggests an ineffectual mishmash of Ruby Sparks-ish high concept and modern Elizabethan comedy.
  12. An egregious entry into the pantheon of films about white Americans traveling to exotic lands in search of identity and soul-searching adventure.
  13. A predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
  14. If a fourth entry wasn't already in the works, [Rec] 3: Genesis could have easily represented the nail in the franchise's coffin.
  15. The film the tough true story has spawned is as formulaically cheery, didactically "uplifting," and fundamentally false as a Disney sports movie.
  16. Ron Howard's by-the-seat-of-your-pants aesthetic makes the slower, darker sequences feel hurried and bland, especially when stacked up next to the racing sequences.
  17. The film can boast of an exotic locale and rare potential, but in Mike Magidson's hands the filmmaking is disappointingly shopworn.
  18. The film takes on high-concept ideas that it can't sustain, and which only make its other problems more obvious.
    • 65 Metascore
    • 38 Critic Score
    By the time the narrative winds toward its key revelation, even the most earnest viewer is numbed and emotionally desensitized by the unfathomable bleakness already overcrowding the screen.
  19. Its only claim to uniqueness becomes running the standard zombie narrative through a Hallmark-card filter.
  20. The viewer is informed of a world of chaos, obsession, and irresolution, but has no cinematic means of accessing or understanding it.
  21. Yesterday, Solondz blocking the screen meant something, even if it was just his own petulance. Today, a blurred sign only signifies his capitulation to peer pressure.
  22. This window into the world of youthful competition almost entirely disposes of social awareness in favor of routine drama.
  23. It's the kind of movie you'd find in someone's VHS collection, decide to watch based on the box art and title, and end up switching out for "The House of the Devil" instead.
  24. The film's inconsistent, largely bankrupt style is second to how hard and tackily it leans on the horror of child abuse to goose audiences.

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