Slant Magazine's Scores

For 3,107 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 Le Rayon Vert (1986)
Lowest review score: 0 Always Woodstock
Score distribution:
3107 movie reviews
  1. It appears afraid of alienating viewers by overloading on scientific jargon, and in the process becomes too attracted to ultimately superfluous anecdotes from her subjects.
    • 62 Metascore
    • 75 Critic Score
    Nathan Adloff's Nate & Margaret is an endearing, hopeful, and quietly radical film.
  2. Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.
  3. The film's educational impetus is to announce to the world that even picture-perfect Norwegians continue to pay a heavy price for the horrors of WWII.
  4. The material being offered has been edited, composed, and made sentimental with the rigor of a political ad campaign.
  5. Even as it takes pleasure in imagining the wheeling and dealing that politicos make when no one is looking, it never offers as much insight into the process by which a president is made as its premise would seem to promise.
  6. Dreams of a Life succeeds in making its point about the unkowability of the people in our lives, but there isn't quite enough substance here to fully sustain the film.
    • 62 Metascore
    • 63 Critic Score
    The film isn't so much about the moral atrophy of people who refuse to come to terms with their past as it is about cosmic karma passed from fathers to sons like an ancient curse.
  7. Director Blair Erickson surely has style to burn, even if he oftentimes betrays his atmospheric shorthand and gets cold feet at the most inopportune moments.
  8. The script's jumble of plot asides and family-friendly pandering is enough to make you want to root for a hero.
  9. The film is a thinly dramatized series of arguments against, then ultimately in favor of the medication of bipolar disorder.
  10. Ted
    Seth MacFarlane's comedic modus operandi is to shock with outrageousness and pander with TV and movie citations via one non sequitur after another, a strategy that leads to a few laughs but nothing approaching lasting humor.
  11. A reminder that crime movies pointedly inspired by other, better genre films can still be enjoyable, if they wear their influences lightly and cleverly connect them to something tangibly human.
  12. Godfrey Reggio's symphony of pristine 4K images doesn't add up to one grand epiphany, but an intermittent cluster of small ones.
    • 62 Metascore
    • 63 Critic Score
    This complex emotional texture no doubt owes a lot to Bello's stunning performance, which works by screwing with the familiar conventions of reaction shots; she goes cold when we expect her to freak out and explodes when we expect her to be silent.
    • 62 Metascore
    • 50 Critic Score
    In the end, The Woman in Black displays a higher regard for the material makeup of gruesome-looking Victorian dolls than it does for the psychological turmoil of its characters, making one wish that some of the money it budgeted for cranes and fog machines had been offered to a script doctor.
  13. If Junebug focused on quieter moments of extended family dynamics, with its city-meets-country clashes delving into resonant, region-specific sensibilities, Angus MacLachlan never goes beyond signpost sentiment.
  14. Even when tragedy strikes early on, the revelation is just another "growing up is hard" dot on the grid.
  15. Even at 74 minutes, the documentary comes to feel arduous in its recycling of the same points and imagery, the filmmaking as plodding as its subject is polished.
  16. The film proves that neither gross-out gags nor pseudo-sophisticated Woody Allenisms are necessary to make a smart, funny comedy.
  17. Kevin Hart turns an essentially crude wingman into the conscience of the film's torturous, nettled discourse on romance.
  18. Patrick Stewart's performance is practically an argument for Belber to jettison everything else and take the actor on the road as a one-man spoken-word act.
  19. Glides from a mildly off-putting opening across several scenes that waver between sitcom superficiality and sudden, unexpected gusts of feeling, ultimately ending on a note of perfectly judged emotional ambivalence.
  20. It leaves room for a few flights of fancy where the lack of verisimilitude feels less like screenplay filler and more like unabashed poetic license.
  21. It only scratches the surface of the mass psychological wounds and trauma that the trials unleashed on the Germany psyche.
  22. The film lacks the immediacy of the Dardenne brothers' pictures, the electrifying sense that anything might happen, while also avoiding their penchant for redemptive resolutions.
  23. High school creative-writing-class ironies of all kinds abound in The Help.
  24. Chockfull of ideas in a way that's both scattershot and more than a little exciting.
  25. It weaves through past and present, memories and reality, analysis and history, like a mercurial mind reminiscing seemingly at random.
  26. The film doesn't add up to much, but it's a diverting tour of Takashi Miike's anything-goes, splatter-paint sensibility.

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