Slant Magazine's Scores

For 3,103 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 8.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 A Spell to Ward Off the Darkness
Lowest review score: 0 Day of the Falcon
Score distribution:
3103 movie reviews
  1. While Nobody Else But You aspires to a kind of French Fargo, it forgets the primary qualities that made that film work.
  2. As director Liza Johnson understands, simply being over there changes someone, no matter if anything unusually traumatic happened to the person.
  3. Everyone heals, or doesn't heal, on cue, and the initial pathos of the narrative is dulled by the architecture of its through lines.
  4. Once it gets its nominal plot and character development out of the way, Bad Posture turns out to be pleasantly surprising.
  5. Adam Pesce never condescends to any of his subjects, but good intentions alone don't make for a captivating movie.
  6. Alternating between self-consciously offbeat comedy and existential J-horror, It's Me, It's Me never quite satisfies in either mode.
  7. The film is less corporate parable than intricately crafted revenge drama whose intensively detailed plotting can't hide the fact that the whole thing seems like a lot of work for a glaringly modest payoff.
    • 63 Metascore
    • 75 Critic Score
    Bruno Dumont's employment of his bucolic French backdrop here attends to Hors Satan's muddying spiritual ambiguity.
  8. The film's increasingly unnerving story mostly unfolds with minimal flair, intensely focused as it is on its steely and enigmatic protagonist.
  9. One can see the difference between the two traumatized main female characters right in their faces.
  10. An animated film with the cozy charm of an advertisement for Starbucks French Roast, A Cat in Paris is all design and no danger.
  11. What this movie finally boils down to is a deceptively simple tale of two brothers, and of being one's brother's keeper, and of seeking justice on the crudest of fronts.
  12. The film's clearest winner is Pat Healy, whose depiction of a man willing to corrode his entire life to provide for his wife and kid feels true despite the script's silliest moments.
    • 63 Metascore
    • 75 Critic Score
    Even stronger than its predecessor, which didn't quite go as far in terms of representing these young women in a wider context.
  13. One sees a film called 100 Bloody Acres expecting the requisite allusions to The Texas Chainsaw Massacre, but an homage to the best scene in Melvin and Howard comes as something of a shock.
  14. Jan Ole Gerster seems infatuated with his main character, but to little avail beyond reveling in his aimless despair.
    • 63 Metascore
    • 50 Critic Score
    Suffers from an overtly conventional way of depicting the life events of an anything-but-conventional woman, a lazy flaw further highlighted by its brief moments of visual experimentation.
  15. Perhaps the most valuable insight that the film provides about its subject is that he acts even as he directs.
  16. The film contains far more passion and a tad more complexity than the dominant and typically more staid model of middlebrow costume drama.
  17. For a film that had once made some pretense toward exposing such dangerously submissive attitudes toward Hollywood romance, Friends with Benefits's conclusion can't help but seem more than a wee bit disingenuous.
  18. My Reincarnation has an effective bifurcated structure that testifies to the level of trust Jennifer Fox clearly established with her subjects.
  19. The film's interests are mainly relegated to wallowing in the frigid-starvation-suffering of its protagonists.
  20. A fawning tribute to the cult legend, enriched by a subtle current of sadness that prevents the documentary from turning into a glorified DVD supplement.
  21. Bleakness, Arturo Ripstein's film implies, demands different kinds of labor from a man than from a woman.
  22. Paolo Virzì's Human Capital gives the tired trope of cutting between overlapping stories a welcome shot of adrenaline, using it not just to compare and contrast tangentially related stories, but to show how people caught up in their private dramas can overlook or misinterpret the people around them.
  23. What keeps the documentary from lapsing entirely into a generic human-interest story superficially peppered with local color is, oddly enough, the slowness with which Parker's goals are achieved.
  24. The film benefits greatly from this bait-and-switch narrative design, as Hoss-Desmarais dials down or otherwise forgoes exposition, backstory, and character development in favor of an ambiguous, almost ethereal dramaturgical approach.
  25. The film refuses to focus on its core story, hedging its bets with forays into family drama, environmental thriller, and corporate intrigue.
    • 63 Metascore
    • 25 Critic Score
    One would be hard-pressed to describe this, despite the wealth of beauty on display, as anything but an ugly film, shot and cut ineptly.
  26. The film has many elements of a thriller, but ultimately Antonio Campos's interest lies much more in profiling, yet never over-determining, his moody protagonist.

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