Slant Magazine's Scores

For 1,979 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 9.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 In the Family
Lowest review score: 0 Brother's Justice
Score distribution:
1,979 movie reviews
  1. This window into the world of youthful competition almost entirely disposes of social awareness in favor of routine drama.
  2. Heist, swindle, and other like-minded genre films thrive or flounder on the mechanics of their story's dangerously elaborate scheme, a fact ably proven by Contraband, a tale of high-seas smuggling without a clever thought in its leaden, derivative head.
  3. Not unlike Michael Peña's prior supporting roles, Chavez is marked by an explosive anger kept under a cherubic, sweet-natured mask, providing the surprise lacking in the story's text.
  4. The film never really goes soft, as Jordan Roberts never loses sight of the fact that these toxic nincompoops are authentically bad for one another.
  5. As film theorist Siegfried Kracauer once wrote, to paraphrase, art often blooms in the most hostile soil. No such luck here.
  6. The chop-socky wire-fu scenes are beautifully choreographed, but pretty crudely edited; despite its gourmet neo-grindhouse trappings, the film won't bring the heat like you've never seen before.
  7. This epic waste of $190 million plunders the grab bag of overused plotlines, failing to put its own stamp on much of anything.
  8. Unfortunately, like so many women have prophesized regarding the weaker gender's lack of commitment, there's just not enough follow through.
    • 51 Metascore
    • 25 Critic Score
    Snitch is the latest in a long line of films whose sole purpose is to flatten a major social problem into a pulp ideal for self-serious spectacle.
  9. A Man's Story does a major disservice to an artiste of fashion with a pretty amazing and prolific oeuvre by reducing him to a Bravo-like personality - a personality whose pettiness Boateng's work, though perhaps not his ego, clearly exceeds.
  10. The whole thing comes out feeling kind of featureless, beaten flat by its own sense of fairness.
  11. An uncommon example of purely allegorical cinema, Paul Fraser's film foregoes plot almost entirely in favor of thematic resonance.
  12. In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
  13. It rarely feels like anything more than an effort to pander to the kind of audiences that enjoy Quentin Tarantino's films for all the wrong reasons.
  14. At the very least, The Pill could have been a pleasant exercise in screenwriting sharpness if Fred and Mindy's situation had been confined and (un-)resolved within the confines of its very promising first scene.
  15. It fails as a critique of draconian security states and surveillance culture, moving too fast to properly consider any of the well-worn ideas it glosses over.
  16. It's to Carine Roitfeld's own credit and director Fabien Constant's funky and frenetic pacing that the doc feels neither like a corporate hagiography nor like mere fashionista masturbation material.
  17. An almost offensively "tasteful" dud that remains irritatingly on the surface, more alive to the set design than the characters' motivations.
    • 51 Metascore
    • 0 Critic Score
    It's difficult to discern precisely where this all went wrong, and even more difficult to speculate about possible improvements.
  18. It's Jonathan Caouette's insistence in going back to his nightmarish old footage, or the old footage that he purposefully renders nightmarish, that seems more interesting.
  19. Gavin Hood relays a vague sense of what it's like to live in duty, and yet at a distance from one's home, but this vision of the future never rouses, never asks to be remembered.
    • 51 Metascore
    • 75 Critic Score
    It plays out like a series wet-dream scenarios, performed by a cast of vintage action figures battered and broken from overuse, bleached and slightly molted from sitting in the sun too long.
    • 51 Metascore
    • 38 Critic Score
    The movie is something of a compositional nightmare, worlds away, one might say, from the artistry so associated with Cirque.
    • 51 Metascore
    • 38 Critic Score
    Brad Anderson's film is defined by an often frustrating combination of cleverness and stupidity.
    • 51 Metascore
    • 63 Critic Score
    Phie Ambo deftly captures her subjects' sense of paranoia and helplessness without encroaching on their brave candor.
    • 51 Metascore
    • 38 Critic Score
    Lost in the music, mustaches, and furniture of the early '70s, this docudrama of a porn star's exploitation isn't nearly painful enough.
  20. The Peter Landesman film's overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for...something.
  21. Anonymous leaves one bereft of any meaningful knowledge of these personages or the theatrical energy of their age, and earns the obscurity it figures to acquire even if the war between Team Edward and Team William blazes on.
    • 50 Metascore
    • 38 Critic Score
    While there's no doubt that a city's walkability is important, the film would have benefitted from either stats or testimonials in favor of its central premise.
  22. Nothing more than an absurdist soap-opera bauble.

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