Slant Magazine's Scores

For 3,105 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 The World's End
Lowest review score: 0 2 Jacks
Score distribution:
3105 movie reviews
  1. It suggests that a disease isn't a product of one single person's body, but the eruption of an entire family history of unarticulated desire.
  2. Transparently wearing metaphors on its singed sleeves, the film shuttles around courses of meaning and significance without committing to any.
  3. Ondi Timoner's documentary about Russell Brand basically gives the English comedian turned "activist" a free pass.
  4. Florian Habicht unwisely shifts his focus from Sheffield and its unique denizens to the band's personal history, effectively turning the film into an episode of Behind the Music.
  5. As in Nathan Silver's previous work, what could have been a rote retread of Pasolini's Teorema blossoms into a study of factional identity and power dynamics.
  6. Farmageddon quite piquantly raises questions about the dim figures who determine what's suitable for national consumption, but it's more eloquently an ode to a group of dysfunctional, if essential, underground misfits.
  7. Edward Burns certainly doles out his fair share of family turmoil, but he admirably doesn't make lunatics out of his characters.
  8. The film is at its best when it lingers on intimacy and the characters' incompetency to manage it.
  9. The documentary isn't advancing an argument so much as simply restating a European socialistic breed of fact.
  10. A madly creative, darkly comical, and fiendishly self-aware actioner with muscle to spare.
  11. After a surprising development, the film grows slack and sentimental, reverting to the survival-movie platitude about hardship making you a better human.
  12. 42
    The film elevates the story of Jackie Robinson to that of cornball legend rather than just honoring his legitimately uplifting, heroic saga by telling it straight.
  13. Robert Carlyle's performance compensates for the film's less successful elements and even makes you wonder if they might be strengths.
  14. It flourishes in the spaces between the plot's necessary setups and subsequent payoffs, which is nearly enough to redeem the film if not for the narrative going belly up in the third act.
    • 62 Metascore
    • 50 Critic Score
    The Louis Garrel character's mixture of self-containment and alleged possessiveness over his wife fails to convince, if not to irritate.
  15. It pushes itself beyond shrill predictability in its willingness to indict the public and familial histories at its core.
  16. Bobcat Goldthwait exposes the characteristic male pursuit of power to which females are often made subservient.
  17. It thrills in seeing dumb people getting their due in hyper-stylized displays of violence, and yet it never feels contemptuous of them.
  18. Good, clean genre entertainment, the sort of harmless yet endearing brand of moviemaking seemingly unattainable in today's Hollywood system.
  19. It lacks the fire and eccentricity that we want from our stories of adventurers driven by obsessions that could be seen as egotistical or just plain bonkers.
  20. In Lucía Puenzo's film, things always feel off balance even as the plot points click all too neatly into place.
  21. It's a film that lives in the high and not in the comedown, even though its characters are often stalled and wallowing.
  22. Its dedication to the transgressive power of frivolity remains the franchise's greatest weapon.
    • 62 Metascore
    • 63 Critic Score
    Going neither in the direction of Reefer Madness nor a Cheech and Chong movie, it's both funny and serious, and its depictions of pot-smoking could be read as either promotional or cautionary.
  23. The research and elucidating synthesis on display effectively illuminate the pernicious aura of a lifestyle pursued by the yearning, lost souls of the time.
  24. The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.
  25. In style as in content, it offers neither the granular detail of more subtle period pieces nor enough of Tim Burton's spirited eccentricity to register as anything other than what one character derides as "that representational jazz."
  26. As much as the film is primarily a genre workout for director Kevin McDonald, the script makes room for a tough-minded, psychologically corrosive depiction of vengeance.
  27. An ostensible Danish "Hangover" that more closely resembles "Two and a Half Men" with nudity and unexpurgated dick jokes.
  28. For all its references to the show's history, the film never panders. It's an evolution of the core concept as opposed to a nostalgia-tinged reproduction, and is all the better for it.

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