Slant Magazine's Scores

For 3,788 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Under the Skin
Lowest review score: 0 Laredoans Speak: Voices on Immigration
Score distribution:
3788 movie reviews
  1. In spite of its conspicuously crude sense of humor, Delhi Belly is much more family-minded and innocent than it would like its young target audience to believe.
  2. Forlorn depictions of love and death may dignify Neil Jordan's film, but narrative withholding ultimately drives a stake into its unmistakable heart.
  3. The film is spare, empathic, and deeply introspective, and its imagery, such as a pelican fascinated by its own reflection, is so sublime in its kookiness as to be worthy of Werner Herzog.
  4. The film is ultimately too concerned with courting the singer's fans to deliver anything more than a theatrical release of a very special episode of VH1's Behind the Music.
  5. Maelström earns its haunting, unpredictable ending, never exaggerating Evian’s moral dilemma. Still, without non-stop techno or the existential overtones of a Kieślowski morality tale, Maelström is just another Winter Sleepers.
  6. Confronting the concept of alienness in a California desert town, this modest tapestry finds equivalent dignity in history-conscious travelers and natives weighed down by roots or inertia.
  7. Whatever one ends up thinking about The Snowtown Murders, it's difficult to deny that it's a deeply impressive work.
  8. The main character is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency.
  9. The filmmakers display a genuine reverence for their subjects, evident even in the intimate but never intrusive photography.
  10. The film, full of such quietly inventive visual magic, is perfectly content to simply revel in the stuff dreams are made of.
  11. A once-precious franchise's weakest installment, which forgets these adventures' magic was never conjured by bells and whistles.
  12. The hanging specter of a phantom planet puts a lot of pressure on Another Earth, a resolutely small parable of grief that often feels menaced by its big-idea concept.
    • 66 Metascore
    • 75 Critic Score
    Most of what transpires between the two girls feels as internal as something you only keep to yourself.
  13. There's edifying information in the documentary, but it's tainted by forced dramatic tactics.
    • 66 Metascore
    • 63 Critic Score
    The film is at its strongest when navigating the story's uneasy relationship to its genre.
  14. With the film, Lee Daniels quietly pushes his talent for hashing out visceral, violent emotions into unexpected dramatic terrain.
  15. From unique to generic, it's a gear-shift that may prolong the franchise's life (a mid-credits coda confirms that a sixth installment is on its way), but, in the process, also renders it redundant.
  16. The extreme largesse of Anselm Kiefer's project, his radical certainties and devotion, all call for a more intrusive probing.
  17. Let the Bullets Fly is an intentionally overheated and very funny comedy about how the best-laid plans tend to fall apart in spectacular fashion.
  18. Proves how invigorating genre filmmaking can be in the hands of a savvy, perpetually inventive director.
  19. Onur Tukel attempts to connect Ashley and Veronica’s barbarity to the broader callousness of American life, but the satire is too blunt to really stick.
  20. The doc's straightforward and chronological structure is its own worst enemy.
  21. A kind of silent opera in which the actors' precise facial emoting and a muscular editing rhythm create a melodrama by turns horrific and hilarious.
  22. What results is a lopsided, put-upon narrative of survival where humans, and not the animals themselves, are the ones to be celebrated.
  23. A hybrid of the millionth send-up of the repressed/impotent Japanese patriarch and the "bad buddy comedy" that Barry Levinson held up as exhausted and bankrupt with 2004's "Envy."
  24. The film gets too caught up in the semi-farcical comings and goings of the two Sophies and Ethans to explore any of the issues it raises about relationships very deeply.
  25. The unapologetic lack of political correctness never goes beyond a one-dimensional and tentative provocation.
  26. The film exists resolutely outside of salience and doggedly within the comfort of escapism.
  27. A reasonably sensitive and occasionally insightful look into the mind and psyche of an impassioned and deeply troubled artist.
  28. The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.

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