Slant Magazine's Scores

For 2,323 reviews, this publication has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 9.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 The Lords of Salem
Lowest review score: 0 Movie 43
Score distribution:
2,323 movie reviews
  1. The film's fealty to history is both unnecessary and a hindrance, pulling us out of a story that could have easily been set in an anonymous city hit by a nondescript hurricane.
  2. While the film charts its protagonist's gradual progression toward a renewed sense of agency and freedom, it rarely indulges in lengthy or even linear narrative arcs.
    • 55 Metascore
    • 25 Critic Score
    A lazily constructed documentary that doesn't hide first-time director Spencer McCall's admitted lack of understanding for his subject.
  3. A one-joke movie--a good joke, yes, but Brandon Cronenberg's agenda clouds the clarity that's needed to fully deliver the punchline.
  4. Taylor Guterson's film offers thoughtful, if familiar, comments on friendship, self-doubt, and romantic angst.
  5. Of the film's three principals, it's only teenage Michael--more than ably embodied by screen newcomer Harmony Santana--that writer-director Rashaad Ernesto Green seems to have much of a feel for.
    • 55 Metascore
    • 63 Critic Score
    This is a film which takes classic source material and imbues it on screen with a sense of wonder commensurate to its prior form, perhaps offering an even more visceral impression of the possibilities inherent to this beautiful, tragic world.
  6. People matter in Matthew Lillard's film; genre not so much.
    • 54 Metascore
    • 63 Critic Score
    When The Pact descends, finally, from suggestion to explication, the scares regrettably slink away.
  7. Never distinguishes itself as engaging cinema apart from the main character's vile charisma and a few dynamic dialogue sequences.
  8. A film of obvious characterizations and even more obvious plot machinations that render its moment-to-moment charms moot.
  9. The laziest sort of political cinema, full of straw men and finger-pointing, wrapped up in an awards-friendly bow by its beautiful cinematography and a manipulative world music-y score.
  10. "With age comes exhaustion," according to a rueful line late in the film, and it serves as a fitting diagnosis for Woody Allen's latest fallen souffle set in a European cultural capital.
  11. From overwrought flashbacks of Third Master and Madame Kang's initial meetings (and sexual encounter), to the present-day arguments and maneuverings of Lord Kang, Empire of Silver is so determined to stage its material with reverence that it embalms any flickers of passion or tension.
  12. Puncture's story only moves forward thanks to Evans's charm. But a good lead performance can't single-handedly save thin material.
  13. Ben Stiller's aesthetics blend overly manicured imagery with soaring rock songs that underline every emotion, lest the film's corporate logo-driven message-making didn't get the point across clearly enough.
  14. Michel Gondry bungles his adaptation of the Boris Vian novel by indulging in homespun craftwork at the expense of plot and character detail.
  15. Superhero movies aren't going anywhere, nor is their standard, on-to-the-next-fight structure, so it's heartening to see a gem that grandly and amusingly fills in the blanks.
  16. One of its most refreshing aspects is its acceptance of both western and action-film conventions on their own terms, refusing to regard itself as operating outside of or superior to the genre.
  17. Is an exploration of sex addiction, in all its different manifestations, the new flavor of the week in contemporary American cinema?
  18. The Decent One operates under a discursive premise so presumptuous and flimsy that its attempted function as an experiential documentary proffers little more than a book-on-tape-on-film.
  19. A freeform, New York-based variation on the Arabian Nights tales by Jonas Mekas is both a pan-narrative and a disarming portrait of its sweetly curious maker.
  20. However messy this overextended and oddly compelling work feels from moment to moment, the end result evokes the life of working artists without sentimentality or undue grandeur.
  21. It's only natural that Abel Ferrara's vision of the end of the world should take corporeal form as a quasi-autobiographical hangout movie.
  22. It would have been nice if the film had surrendered to its lunacy more blatantly, more carelessly.
  23. All Is Bright remains engaging, for the most part, but most of the big narrative turns feel both predictable and forced, and at odds with the natural charms of the cast.
  24. Peter Sattler's film feels quintessentially Sundance: an expensively mounted treatise on important issues that's terrified to dig in obsessively, yet so ramrod-stiff with indignation that it never comes anywhere near compelling entertainment.
  25. What's worst about the film is how it appropriates its main character's noncommittal selfishness to support its own quaint, anti-establishment themes.
  26. Whitney Houston's death is just about the only thing that gives the film real, albeit mostly unintentional, life.
  27. A choppy, feature-length progression of crude, predictable gags, the film plays like a variety show, and yet its main attraction is barely funny enough to warrant his own brief sketch.

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