Slant Magazine's Scores

For 2,191 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 A Hard Day's Night (re-release)
Lowest review score: 0 In Search of God
Score distribution:
2,191 movie reviews
    • 89 Metascore
    • 38 Critic Score
    The Artist neatly sidesteps this unsolvable dilemma by ignoring everything that's fascinating and memorable about the era, focusing instead on a patchwork of general knowledge, so eroded of inconvenient facts that it doesn't even qualify as a roman à clef.
  1. Nuri Bilge Ceylan has to be the least kinetic of working filmmakers - and not simply in the sense of static camerawork or lack of narrative momentum.
  2. Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
    • 81 Metascore
    • 25 Critic Score
    When one stops to consider how irksomely on the nose so much of this is, the qualities which intend to most readily ingratiate the film with us begin to appear perceptibly disingenuous and false.
  3. Enough can't be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener's latest articulation of white suburban anxieties.
  4. Life lessons abound in Buck, most of them tied to endlessly reiterated comparisons between man and horse.
    • 76 Metascore
    • 38 Critic Score
    The film seems almost to have been produced spontaneously, by gears of a larger system as they mesh together right this instant, culled from the ether with the words "Customers Who Also Liked Dogtooth and Winter's Bone Liked This…"
  5. 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.
    • 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.
  6. Rich Hill is poverty porn, examining lower-class spaces with pity as its operative mode and engendering little more than a means for viewers to leave the film acknowledging its sadness.
  7. David Siegel and Scott McGehee's film renders the rhapsodic Henry James novel of the same name into an abhorrent slice of tasteless familial drama.
  8. Tim Burton's sense of playfulness feels forced throughout, and as the film progresses, any humor or inventiveness takes a backseat to tumultuous set pieces that reference Frankenstein.
  9. Lacking both spiritual and narrative spark, Vera Farmiga's directorial debut suffers from her flat performance and a moribund, weirdly sex-joke-spiked narrative.
  10. It's the rare film that should not introduce new story elements or characters past its first act. In Darkness, a garbage movie applying for unlimited credit on the most meager collateral, is that film.
  11. It would be inaccurate to call Happy People: A Year in the Taiga the newest Werner Herzog film.
  12. Moussa Touré's worldview, like Ousmane Sembene's, is characterized by the feeling that, at the end of the day, some degree of loss or defeat is inevitable.
  13. A sham realist's disaster movie, tackily insulting the deaths of 300,000 people by reducing the horrors of the Indian Ocean tsunami to a series of genre titillations.
  14. Doesn't waste a moment on recognizable reality, consumed as it is with checking off various items from its list of clichés.
  15. A maddeningly blunt and syrupy rendering of a piquant socio-economic configuration, Park Bong-Nam's Iron Crows is ultimately third-world documentary filmmaking at its most exploitatively surface-groping.
    • 72 Metascore
    • 12 Critic Score
    Kim Ki-duk's film makes an exaggerated, undeserved show of its cruelty, indignity, and aspirations of importance.
    • 72 Metascore
    • 38 Critic Score
    Nothing but broad, pandering indexes tailored to appeal to the arcade wistfulness the film never even bothers to convincingly evoke.
  16. Shame articulates a shallow, even mundane, understanding of an uninteresting man's sex addiction-in a vibrant city rendered dull and anonymous.
    • 72 Metascore
    • 38 Critic Score
    Bill Siegel has made more of a Ken Burns-esque history book--that is, a medium more dry and factual--than a film.
  17. Not everyone's life is compelling enough to warrant the documentary treatment, but whether this truism applies to master puppeteer and current Sesame Street producer Kevin Clash is a question that Being Elmo: A Puppeteer's Journey, Constance Marks's fawning portrait of the Muppet- master fails to answer.
  18. Is Josh "Skreech" Sandoval the least deserving documentary subject ever?
  19. Despite one or two moments of Venture Brothers-worthy fancy, the film is as by-the-numbers as any this series has ever offered.
  20. Jim Mickle plays the scenario deadly straight and unintentionally exposes all of its attendant absurdities, leaving the cast stranded.
    • 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.
  21. A germophobe's worst nightmare, Contagion touches on all the dramas big and small, mostly big, we've come to associate with catastrophes such as this, and does so as if it were hurriedly going down and adapting a list of bullet points, never lingering on any one drama in a particularly meaningful fashion.
    • 70 Metascore
    • 0 Critic Score
    A hybrid of the millionth send-up of the repressed/impotent Japanese patriarch and the "bad buddy comedy" that Barry Levinson held up as exhausted and bankrupt with 2004's "Envy."

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