Slant Magazine's Scores

For 3,746 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Queen of Earth
Lowest review score: 0 Skin Trade
Score distribution:
3746 movie reviews
  1. Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
    • 94 Metascore
    • 50 Critic Score
    This isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years.
  2. Every element of La La Land is bound up in a referentiality that largely precludes the outpourings of emotion we come to musicals for.
  3. If The Look of Silence still remains a gripping, vital, consequential documentary, it's in spite of its approach rather than because of it.
  4. The film's meticulousness orchestration only calls attention to its dubious sense of purpose, which lies beyond human subjectivity.
  5. It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
  6. Its enervated address of both mental-health treatment and gun laws receives few constructive articulations beyond a single scene.
  7. True to Hollywood's tireless efforts to fit square-peg material into roundish genre niches, this wavering, intermittently smart story of daring to think differently flattens its narrative into formula.
  8. It rams home the main character's relentless downward spiral though an incessant parade of grandstanding stylistic flourishes.
  9. For American viewers who don't know, the doc will be a worthy footnote to a long bout of deliberate cultural amnesia, but it's too telling that the Vietnamese remain in the background.
  10. Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
    • 86 Metascore
    • 50 Critic Score
    The Master is Paul Thomas Anderson with the edges sanded off, the best bits shorn down to nubs.
  11. The stock character types that Hirokazu Kore-eda employs across the board are pretty much open books from the start.
  12. Though ostensibly a character study, it's nevertheless characterized by the vaguely moralizing tone of an issue film, one whose candor in the face of brutality seems calculated for maximum liberal appeal.
  13. Josh Kriegman and Elyse Sternberg's film never discovers a greater purpose beyond its undeniable sideshow appeal.
  14. To drive home the pathos of Nim's mistreatment, James Marsh frequently makes questionable use of the creature's apparent similarity to human beings, trading complex analysis for easy sentiment.
  15. Go after Pina and you're going to have to go through a mob of modern-dance zealots first.
  16. Unfortunately, the film's occasionally thrilling visual sleight-of-hand comes at the ultimate service of a boilerplate early-mid-life-crisis drama.
  17. The film punctuates the sisters' confinement with various episodes united by their contrivance.
  18. Steve Coogan and Rob Brydon's shtick - a relentless verbal sparring comprised of dueling impressions, poetry recitations, absurdist riffing, and comic one-upmanship - works best in small doses.
  19. Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.
  20. The screenwriter's signature verbal-diarrhetic dialogue allows for a nonstop blaring of actorly chops that, like the movie at large, is nothing if not committed.
  21. The bloat and heft of Marley's narrative scope leaves the viewer awash in a sea of historical "facts" with very little sense of the human experience behind the curtain of celebrity.
  22. Pablo Berger digs for emotional intensity in his gothic retelling of Snow White and only uncovers layers of gloss.
  23. It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
  24. Under the Sun's overall aesthetic identifies a willingness to settle for an easy condemnation of an obviously abysmal regime, while not doing anything challenging or enlightening with all the outstanding footage collected.
  25. Pablo LarraĆ­n's film bluntly hammers home the notion that history is framed by perception rather than reality.
    • 81 Metascore
    • 50 Critic Score
    Its fourth-wall-breaking wags a finger at the perceived facile nature of celebrity-driven mass culture even as it ultimately condescends to audiences.
  26. Tobias Lindholm stages his claims through clunky dramaturgical scenarios, with the seams exposed at every turn.
  27. The film goes in for the idea of texture and tics and human behavior, but there's no conviction, and no real push for eccentricity.

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