Slant Magazine's Scores

For 4,008 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 8.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Li'l Quinquin
Lowest review score: 0 The Moment
Score distribution:
4008 movie reviews
  1. A risible, somewhat revolting piece of pop martyrdom, made for and isolated to the damaged middle class.
  2. Ridiculousness played with a straight face, the film is endearing even if it's never quite hilarious.
  3. The film refuses to tease us with suspense, overwhelm us with sentimentality, or defy us with nuance.
  4. Its allegory for internalized homophobia, a gay man's perilous attraction to straightness itself, seems in this case deeply persona.
  5. Rachid Bouchareb casts his account of the horrifying aftermath of tragedy on an intimate scale, allowing the halting words and frightened faces of his two leads to tell us as much as we need to know about the uncertainties of those faced with tracking down their lost loved ones.
  6. Jonathan Demme makes loving sport of the trust his actors have clearly placed in him, erecting for them a monument to the joys and terrors of walking an emotional high wire.
  7. Using a whirlwind of archival footage, maps, and split screens, Edmon Roch conveys Juan Pujol Garcia's reign as Europe's premiere spy in a constantly fluid fashion, aesthetically mimicking his crafty and cagey nature.
  8. As the psychology of the characters hardly connects with their distinctive milieu, the film merely suggests a conventional family drama littered with empty pot-shots at governmental authority.
    • 67 Metascore
    • 38 Critic Score
    Wayne Blair isn't interested in historical complexity or subtext, just the seamless flow of Hollywood-style storytelling that lazily connects one musical number to the next.
  9. The proceedings have such a rigidly determined structure, amplified by chapter titles, that the power and conviction in their recountings deteriorate into a placid series of back-and-forths.
  10. Throughout this American Graffiti-like Circadian shuffle, we can sense these characters coming to grips with human realities that they dare not vocalize.
  11. The film's segments move seamlessly from one topic to the next with the unselfconscious ease of a good dinner party.
  12. There's so much baggage involved in the kind of dilettantish games Jamie and Crystal are playing that it's a shame that the film never fully engages with these enticing issues.
  13. From the overtly vibrant colors to the caricaturesque dimensions of the performances, the film's aesthetic promises a great allegorical message that never arrives.
  14. The film lays bare that the franchise's most radical asset is also its most conservative: an overriding emphasis on, above all else, the on-screen family.
    • 67 Metascore
    • 63 Critic Score
    It's a confident vision, but its aversion to sentiment has the intended but unfortunate effect of making the characters' disconnects our own.
    • 67 Metascore
    • 88 Critic Score
    Long takes are used frequently, whether in a seven-minute exchange between Rose and Huston in bed or a staggering high-angle shot that frames Rose in front of a football field while using a payphone, before craning down to capture her in close-up. These visual cues, along with Midler’s presence, give the film an immediacy and dynamism.
    • 67 Metascore
    • 50 Critic Score
    Unlike Waltz with Bashir, it only seems to be using animation in an effort to make blog diaries by twentysomethings appear cinematic.
  15. The film is only slightly dependent on the self-pity that informed Asia Argento's last effort, The Heart Is Deceitful Above All Things, but it feels similarly airless.
  16. Ma
    Celia Rowlson-Hall's Ma has had its subtext dragged kicking and screaming to the surface.
  17. The film at one point offers the finest sustained act of emotional storytelling to grace a Marvel Studios production.
  18. Control is the operative element in Benoît Jacquot's work, with the main caveat being that when someone has it, someone else does not.
  19. The film feels utterly infatuated by the cop/crook dividing line long-since drawn, if not flogged, by Michael Mann.
  20. Stefan Knüpfer's subtle charisma feels more suited to a beefily human New Yorker article than a documentary film.
  21. A bubbly 90-year-old mascot from the golden days of the American musical, this doc's subject is certainly larger than the conventional testimonial treatment she's given.
    • 67 Metascore
    • 63 Critic Score
    For what often feels like an obligatory "Where Are They Now?" DVD extra, the documentary is surprisingly affecting.
  22. It shrugs off the bigger questions about Iranian politics its first half appears to raise, falling back instead on a gestalt of the eternal, Kafkaesque regime, wherever the viewer may find it.
    • 67 Metascore
    • 88 Critic Score
    The clash of styles in Damsels in Distress is bewildering and then disarming.
  23. It finds its strength in painting a portrait of Brazilian heterosexual gender relations as an always-volatile symbiosis between feminine hysteria and ruthless machismo.
  24. Failure hovers over the film as much as it did in Schulz's comic strip, infusing even its most ebullient set pieces and designs with a sense of melancholy.

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