Slant Magazine's Scores

For 2,480 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 9.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Level Five
Lowest review score: 0 One Fall
Score distribution:
2,480 movie reviews
    • 55 Metascore
    • 88 Critic Score
    In almost every respect, Extraterrestrial is an exceptional and traditional romantic comedy. It just happens to be set during an alien invasion.
  1. All its faux-patriotism isn't played for satire, but instead utilized to align the film with an idyllic, unquestioned vision of goodness.
  2. Under the modern mannerisms lies a rather clumsily Romantic -- one might say Wordsworthian -- rant that juxtaposes urbanity against a nebulous, fictitious past.
    • 55 Metascore
    • 50 Critic Score
    The Harvest/La Cosecha is another entry in the fast-growing agri-doc genre that seeks to upend naïve ideas of where your food comes from.
  3. This documentary on the many forms of human debt, though often frustratingly broad, offers a path to balancing civilization's ledger with a hard-nosed brand of altruism.
  4. As informative, revealing, and occasionally poignant as some of the unearthed revelations are, the doc is ultimately hampered by a level of self-congratulation that nearly undoes its effectiveness as an activist polemic.
  5. While the heart of the movie is the at-times strained relationship between the two leads, it all unfolds rather by the numbers, dictated more by the expected arc of such things than the demands of the characters.
  6. This adaptation of a prize-winning Australian novel is a stodgy slog save for some sporadic moments of blunt force supplied by Judy Davis and Charlotte Rampling.
  7. Its ideas are paralleled, its themes twinned, sometimes breathlessly, sometimes fatuously, into what may be described as a 164-minute pop song of seemingly infinite verses, choruses, and bridges. Perhaps expectedly, it soars as often as it thuds.
  8. If you've ever seen Psycho, or even if you know anything at all about the film, Sacha Gervasi's Hitchcock would like to congratulate you on your savvy.
  9. Unlike David Lynch, Ivan Kavanagh isn't interested in catching ideas like fish, of linking the degradation of film to the degradation of consciousness.
    • 55 Metascore
    • 25 Critic Score
    While there aren't many films shot on Super 8 anymore, It's About You, a documentary that isn't really about John Mellencamp's 2009 No Better Than This tour, doesn't make the case that moviegoing is missing anything because of that.
  10. The filmmakers bite off far more than they're able to chew, resulting in an odd blend of touched-upon topics.
  11. A mixed bag of Nixon-era pop burlesque and vampire kitsch is ultimately undone by pedestrian gags and bloated genre boilerplate.
  12. Anthony Wong does a creditable job of conveying Ip Man's reflectiveness through his twilight years, occasionally cutting through the hagiographic nature of the enterprise.
  13. A rigidly predetermined film that runs on the fumes of hackneyed plot points, squandering at nearly every turn a humanistic study of a family's struggle to maintain a tenable bond with one another.
  14. Nancy Savoca's film begins in caricature and ends in sentimentality, only briefly hitting the sweet spot in between.
  15. An anthology of found-footage horror shorts that exudes, sometimes extraordinarily, a neophyte's sense of courage and cluelessness.
    • 55 Metascore
    • 63 Critic Score
    The Assault raises many more questions than it answers, and its overall objective is puzzling and remains shrouded in political agenda.
  16. Both film and protagonist are troubled works in progress that shuffle and meander and frequently falter, but occasionally sing.
  17. Viewer/character solidarity only holds up for so long, and the film falls hard into twisty, nonsense territory, skipping over its stronger themes in the process.
  18. A surprisingly thoughtful romantic comedy that shirks a great deal of reason and consequence in the name of love.
  19. Safe's primary contribution to the burgeoning Jason-Statham-kicks-everyone's-ass subgenre is setting three of its set pieces in crowded New York City venues (a subway car, a hotel dining room, and a Chinatown nightclub) where shootouts lead to believable mass-exodus pandemonium.
  20. The film is rife with tired food metaphors and plot twists so predictable you see them coming like travelers on the poplar-lined street that leads to the dueling restaurants.
  21. Costa-Gavras's new film is more a funhouse-mirror panegyric (albeit on an exhausted topic) than the staid thriller promised by its press materials.
  22. 3
    3 is a smidgeon film. Take a smidgeon of scientific/ethical discussion, throw in a pinch of dance/poetry/dream sequences, tie the whole thing up with split-screen montages and you no longer just have a film about a love triangle, but a Godardian objet d'art.
  23. Onur Tukel is able to offer a reasonably fresh spin on familiar vampire-movie tropes, giving pitiless misanthropy pedal-to-the-metal comic wit.
  24. Ultimately crammed at a frustrating juncture between period-piece froth and seriously conceived drama, never tipping its hand toward either.
  25. Gus Van Sant's new film offends for how it views the struggles of the landowners at the heart of its story as subservient to their oppressor's triumph of the spirit.
  26. The film takes more than a few pages from the James Cameron playbook.

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