Slant Magazine's Scores

For 2,210 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 9.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Museum Hours
Lowest review score: 0 One Fall
Score distribution:
2,210 movie reviews
  1. What the documentary lacks in the way of sophisticated filmmaking it compensates for with an earnest insistence on open dialogue.
  2. The Good Doctor isn't a ponderous bore because Blake isn't a strictly good or bad character: It sucks because he isn't even a compelling character.
  3. This time-tested project of tracing gayness back to when its shame was so explicitly enforced feels not only passé, and naïve, but mostly unproductive in a post-Judith Butler world in which drag queens are on TV teaching biological women how to better perform womanhood.
  4. Pang Ho-cheung can't help but humanize Vulgaria's characters, which is a kiss of death for what's meant to be a farce of escalating obscenity.
  5. Like their earlier Trouble the Water, Carl Deal and Tia Lessin portray men and women yearning for a simple place in society as they become casualties to the self-involvement of larger forces.
  6. The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.
  7. Do we really need another cautionary tale about an ambitious drug dealer dramatically falling from grace?
  8. None of Eric Bana's mildly rousing moments clearly rise above the laborious gobbledygook that Ruzowitzky builds up through the course of the film's 94-minute duration.
    • 52 Metascore
    • 63 Critic Score
    If The Weird World of Blowfly is any different from other documentaries about eccentric characters from music-world obscurity, it's in the contentious topics Clarence touches on in his cantankerous speech.
  9. Passion is a serpentine, gorgeously orchestrated gathering of all of De Palma's pet themes and conceits, a symphony of giddy terror where people perpetually hide behind masks, both literal and figurative.
    • 52 Metascore
    • 50 Critic Score
    It plays everything safe, keeping all its edges rounded and its lips sealed in territory ripe for sociopolitical commentary, making even The Help's glib depiction of African American servitude seem nearly honest.
  10. The hilarity of the film creeps up slowly and from every angle, not through the facile immediacy of short-lived laughter.
  11. A movie like this lives and dies by its finer details, and London Boulevard screws up by applying the same broad brush to its entire cast, meaning every character gets the same amount of shading.
  12. More chilling than the horror of the alien's close-quarters assault is the rank misogyny that more than offensively underscores the Melrose Place-grade human drama.
  13. Fails to dig too deep into the politics or inner workings of the new right-wing youth movement it profiles, remaining content with simplistic conclusions about pro-Putin thuggery.
  14. This nearly pitch-black comedy is better than its tiresome use of '90s pop references, no matter how much they illuminate what the gals bonded over back in the day.
  15. One can never fully shake the feeling that the sense of unease the filmmakers rouse, every act of seduction, infiltration, and vengeance they orchestrate, is borrowed.
    • 52 Metascore
    • 75 Critic Score
    It may be baked with the same ingredients that come in your standard mumblecore starter kit, but because of Matt D'Elia's indebtedness to other movies, the film follows a different recipe altogether.
  16. The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
  17. Endng in risible bathos, Tony Kaye's urban high school melodrama is all about the cute teacher's crises and the girls who love him.
    • 52 Metascore
    • 50 Critic Score
    At heart a heist movie, snappy and dry in its humor, clever in its elaborate robbery scheme, and somewhat bloated and unspooled in its storytelling.
  18. The fawning personal-life segments are overdone, and undermine the film's compelling reportage about Madoff's ruse and downfall.
  19. Well acted and wise enough to not excessively linger in its atmosphere of genial camaraderie and underlying regret and nostalgia, Turkey Bowl accomplishes its small-scale goals with aplomb.
  20. Cédric Klapisch settles for a mixture of bland obviousness and crudely manufactured drama.
  21. The film hints at a kicky, impressionistic style that director José Henrique Fonseca never effectively employs to actually communicate Heleno de Freitas's demons.
  22. The film's first act is wholly concerned with the juxtaposition of physical similarities and ideological opposites, and Tamahori spends entire sequences upending the balance between the two.
  23. Characters are better employed; emotions are, for once, palpable; and the selfishness of Bella, author Stephenie Meyer's avatar, is finally somewhat squelched.
  24. This is a powerful chapter in our human history, but it's made melodramatic and dull through Matej Minac's indulgence of hokey reenactments and sound-augmented archival footage.
    • 52 Metascore
    • 38 Critic Score
    The adventitious use of loud and strange blasts of music may theoretically make sense to heighten the film's creepiness, but here, like everything else, they don't exactly make a perfect fit and serve more as the final nail in the coffin for the film's lack of tonal cohesion.
    • 52 Metascore
    • 75 Critic Score
    Illustrates the problem of class mobility with a dark, troubling premise that holds a harsh light up to our own assumptions and expectations.

Top Trailers