Slant Magazine's Scores

For 2,679 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 Inherent Vice
Lowest review score: 0 Brother's Justice
Score distribution:
2,679 movie reviews
  1. What results is chaotic but ultimately focused, bound by an intense devotion to disassembling genre and narrative standards.
  2. Alternately maudlin and snarky, Norman just doesn't risk enough, and can be consigned to the status of what the school drama geek would call "some contemporary, obscure, teen-angst thing."
  3. Michael Shannon has no interior to play with, since the film seems intent on ridding Richie of any emotion other than love for his family, and also no catharsis to build toward.
  4. The film is so unusually moving and penetrating because it refuses to cloud its emotions in distancing irony, anger, or nihilism.
  5. In spite of its lazy, cookie-cutter screenplay, simple narrative mechanics are only dutifully observed to the extent that they step aside to make way for numerous flights of madness.
  6. Rebecca Thomas's debut feature is a sensible and humane exploration of youthful curiosity.
  7. Like his prior "The Kingdom," Peter Berg's film pretends to dabble in a frothy moral ambiguity, swiftly betraying its true aims with trigger-happy jingoism.
  8. While the real-time aesthetic approach sporadically enthralls, it also reveals the narrow worldview that burdens the film.
  9. Down to its too-crisp rubber Nixon masks, Daniel Schechter's film revels in obnoxiously self-aware period detail.
  10. The icy fatalism of film noir is turned to slush by Thin Ice, a crime saga that reduces its chosen genre to a series of atonal, old-hat clich├ęs.
  11. It ultimately offers little more than another opportunity for famous actors to indulge their fetishistic, inadvertently condescending impressions of "everyday" people.
  12. An honest and breezily melancholic film, thoroughly clear-sighted in its intentions and ideas and bravely committed to the emotional rigors of its central relationship.
  13. The emotional and political point through all this isn't to be taken lightly, but because the entirety of the film has such a nihilistic temperament, its effect is muted.
  14. Anja Marquardt feels the need to puff up her film with relatively artificial conflict that generally comes off as sops to screenwriting conventions.
  15. Philip Roth's original ending is cranked up to 11, flattening the more interesting contours of Al Pacino's performance into a martyr's desperate plea for an audience's love.
  16. The script is busy and unconvincing, and much of the acting is lousy, but there are haunting touches.
  17. The film's chief misstep is taking its title too literally, and ultimately depicting Louie as an indestructible, and thus largely inhuman, superhero.
  18. The sexism isn't quite as noxious as one might find in Tyler Perry's films, but that's as far as the compliments go when it comes to this overextended and deeply crude sermon.
  19. The script simply isn't in the same league as the images that Andrew Dosunmu and the gifted cinematographer Bradford Young have fashioned.
    • 59 Metascore
    • 75 Critic Score
    These SoCal kids are passionate about their craft and it shows in their renditions of the famous bard's work.
  20. A film relating a story of the Holocaust is destined to provoke a number of adjectives, but "cloying" shouldn't be one of them.
  21. Defiantly graceless, Brett Ratner deals in loudness, haplessness, obviousness, and, certainly, crudeness, reminding you of his directorial presence with such inclusions as a scolded kid who tells his disciplinarian to "suck it."
  22. Sarah's Key becomes a musing ("meditation" would be too generous) on the importance of uncovering the past that fails to honestly contemplate why such an act is significant.
  23. Germain's bonhomie with the bistro regulars has the feel of a TV comedy pilot, which is more than can be said of the monologues he speaks to his cat, one on the inadequacies of the dictionary.
  24. An unfocused mishmash that thrives only when it fixates on footage of actual bouts.
  25. This sequel strenuously works to form a total inversion of the first movie's relationship with food.
    • 59 Metascore
    • 75 Critic Score
    These films, and Tolkien's entire oeuvre, are most affecting in their depictions of friendship, and the performances here represent plutonic male intimacy in convincing, often moving ways.
  26. LisaGay Hamilton and Yolonda Ross play persuasively embody modern urban feminine strength, but they're eventually stranded in a recycled road movie.
    • 59 Metascore
    • 88 Critic Score
    Joe Swanberg's idea of making audiences "happy" is by acknowledging what his supporters and detractors have been saying about him for a number of years, but presenting these things within the same game of elliptical story-unraveling and confession that's governed most of his other films.
    • 59 Metascore
    • 75 Critic Score
    Black's script, in the wrong hands, could have come under fire for confusing Hoover's twisted mind with his homosexuality or his problems with Mother. Eastwood doesn't seem to give a fuck, and only opts for one overt visual match, depicting as mirror images Hoover's lifeless corpse and the remains of the Lindbergh baby.

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