Slant Magazine's Scores

For 3,021 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 The Turin Horse
Lowest review score: 0 Casa de mi Padre
Score distribution:
3,021 movie reviews
  1. Though it's as schematic in construction as "Incendies," the film doesn't grind along to a ponderous plot; it's unnerving abstraction of its subject matter more daringly relays Villeneuve's view of the human cost of gender warfare.
  2. Justin Lin strives to approximate something like Ocean's Eleven for petrosexuals, but testosterone outweighs wit and cleverness at every turn in Chris Morgan's starched script.
  3. The film believes in maturity, but only as a freely continual process of acceptance.
  4. Freed from the burden of starting anew, the film restores the Muppets' rightful place as stars of their own show.
  5. Beyond the forthright identity politics and titillating theatrical misdemeanors, one still comes away wondering about the things that remain concealed.
  6. Lilting doesn't have any momentum or any sense of ambiguity, once the setup has been established.
  7. Offers all the ingredients for a great feast of enticing visions and thematic concerns, only to have them be prepared, plated, and served with the grace of Elmer Fudd.
  8. At which point does a superficially "nonjudgmental" approach simply seem coy rather than sincerely evenhanded?
  9. So Yong Kim's direction remains ruminative, even poetic, in its pacing, its sense of place, and its approach to intimacy, but this is her most unsuitable script.
  10. The title of Scott Coffey's new film is a pretty obvious double entendre, but it does efficiently convey the good intentions behind this scattershot production.
  11. The songs still sound great here, but the instruments aren't amplified nearly as much as the nostalgia and vanity of the men who wield them.
  12. One doesn't have to look too closely at Carnage's final shot to marvel at the way Polanski refuses to haughtily indict his audience in the pettiness of his characters' behavior.
    • 61 Metascore
    • 75 Critic Score
    The film draws out Danny Boyle's less dazzling commercial side, not to mention his penchant for whirling excess.
    • 61 Metascore
    • 50 Critic Score
    As a film stupefied by its exotic setting, Oka! almost drops its walking stick of a plot as it wanders through the Central African Republic's jungle, getting blissed out on the sensuous delights of the surrounding wildlife and local Bayaka music.
  13. For all the heartbreaking depth with which the filmmakers explore the horrors of human trafficking, the film still leaves one with a sense of a larger story just beyond their grasp.
  14. One successful set piece in 135 minutes, and it involves very little running, no parkour, and no genetically enhanced superheroes from clandestine government projects.
  15. A cheekily gruesome and genuinely urgent entertainment, Blomkamp's latest nevertheless can't help but beg the question: Where's Snake Plissken when you need him?
    • 61 Metascore
    • 63 Critic Score
    Makes room for tender moments of reflection from a guy who, against impossible odds, still managed some victories, the biggest of which may be that he's still standing.
    • 61 Metascore
    • 38 Critic Score
    Cheery and happily empty-headed, the present-day subplot adds little but sentiment to a film shot through with cliché characters, a predictable plot, and undisguised reverence.
  16. One wonders if the filmmakers ever asked themselves who their film was intended for, or if it was at least a consciously self-serving effort from the outset.
  17. The film grows increasingly tiresome the more it flirts with melodrama, unraveling themes of jealousy, regret, and ambition in broad strokes.
  18. The sex in Nymphomaniac is inhuman, mechanical, boring, and predictably viewed through the (male) scrim of someone who characterizes women solely as withholders.
  19. Good Neighbors basically runs on the assumption that Montreal is the last place you would ever want to live.
  20. From the opening montage alone, it's clear that Australian director Kieran Darcy-Smith plans to play his cards close to the vest in this maddeningly underwritten thriller/domestic-drama hybrid.
  21. The testimony we hear from suspects' neighbors and similarly curious media underlings feels muted, like a halfhearted repetition.
  22. All of its revisionism centrally incorporates the history of the franchise, and the film both excels and suffers for frequently recalling its forbears.
  23. This may be the year's best superhero movie because, for a sufficient amount of time, it doesn't feel like a superhero movie at all.
  24. This "Buddhist film noir," as writer-director Pen-ek Ratanaruang calls it, is surprisingly slow-moving and soulful for a film full of double-crosses and cold-blooded killing.
  25. Magic Mike XXL isn't so much a lesser movie than Magic Mike as it is a looser one.
  26. Everyone heals, or doesn't heal, on cue, and the initial pathos of the narrative is dulled by the architecture of its through lines.

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