Slant Magazine's Scores

For 2,752 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Tabu
Lowest review score: 0 Zookeeper
Score distribution:
2,752 movie reviews
  1. There's only so much that Fanning's vividly expressive face and Hawkes's charismatic sensitivity can mask before we realize how little we truly understand what goes on in anybody's head.
  2. It's hard to ignore the fact that a substantial percentage of Letourneur's would-be character study is dedicated to concentrated Schadenfreude that's unbalanced and without any real narrative weight.
  3. Rob Zombie understands horror as an aural-visual experience that should gnaw at the nerves, seep into the subconscious, and beget unshakeable nightmares.
    • 57 Metascore
    • 50 Critic Score
    The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters' existential or psychological crises.
    • 57 Metascore
    • 50 Critic Score
    Because the film clearly aims for satire, Boris Rodriguez isn't entirely guilty of indulging gruesome spectacle for its own sake.
  4. Its self-seriousness never allows it to become the realist counterpoint to Aki Kaurismäki's tragicomic approach in Le Havre that one initially hopes it will be.
  5. Class privilege and sexual politics are inextricably linked in Trishna, Michael Winterbottom's blunt, self-consciously brutal, and rather loose updating of Thomas Hardy's "Tess of the D'Urbervilles."
  6. Julia Leigh's take on the fairy tale is a study in detachment and unspoken dissatisfaction, traits that imbue the proceedings with a barely-contained sexual energy lurking beneath a thin veneer of calm.
  7. Oliver Laxe goes full-on meta by casting himself in the role of a visiting moviemaker who travels to Morocco to shoot footage with disadvantaged children living in a shelter.
    • 57 Metascore
    • 75 Critic Score
    The set pieces follow their own insane, unstoppable logic, with each new twist yielding its own outré surprises.
  8. The movie is unsurprisingly devoted to peddling up-and-comer Chris Thiele as something daring, something new.
    • 57 Metascore
    • 63 Critic Score
    "Why are there so few black surfers?" That's the question posed by Ted Wood's incisive, if ultimately repetitive, documentary White Wash, and to answer the question the film digs deep into US political and social history.
  9. Pawlikowski has crafted a film that throbs with substantial personal weight and bristles with a violent, haunting interior life.
  10. The film abounds in excruciatingly obvious, often precious, articulations of grief, where armchair philosophizing volleys back and forth with punishing abandon.
  11. In the documentary, the game is a make-believe war of pent-up frustrations linking race, nation, and manhood, one which teenage boys named Mohamed can actually win.
  12. A sense of anachronism is what provides the film with its melancholy heart.
  13. A cheeky dream-drama about the friendship between a rich, white quadriplegic and a penurious black job-seeker, the premise of The Intouchables alone nearly renders analysis redundant.
  14. The romantic elements are secondary to what is essentially an astute and cleverly written dissection of a co-dependent friendship being gradually eroded by the incremental ravages of age, rivalry, and rapidly diverging personal arcs.
  15. Not even Bernardo Bertolucci's choice of a lead actor with visible facial acne scars, in a welcome gesture toward authenticity, is enough to overcome the gaping hole of psychological nuance at the center of the film.
  16. Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
  17. János Szász's film is a thoroughly provocative WWII screed that almost deliberately goes out of its way to avoid sentimentality or bathos of any sort.
  18. Like many films that contrast the simplicity of a rural community against the confusion of city life, The Grand Seduction exhibits a patriarchal, xenophobic attitude.
  19. Given its played-out subject matter and hoary coming-to-terms narrative arc, one's ability to enjoy the film hangs on a tolerance for the ever-popular on-screen man-child.
  20. The Tickells' style is a predictable grab bag of interviews with outraged experts and journalists, TV news footage, and scenes in which the filmmakers (and, during one trip, fellow activists Peter Fonda and Amy Smart) make faux-daring journeys into the fray to bring back supposed realities that corporate America seeks to hide.
  21. A historical melodrama that retains an ancient, elemental pull even as it insufficiently charts motivation and the self-denying values of antiquity.
  22. There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
  23. The documentary is ultimately a dry endeavor that feels closer in spirit to an Afterschool Special than a full-blooded movie.
  24. The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
  25. The film works because what it documents is less a transformation and more a return to a former, more natural state for its troubled protagonist.
  26. This frothy 3D concert doc often plays like a Perry ad campaign, assuring viewers that their "Teenage Dream" diva is a good, fun-loving person, and that, by God, she's doing fine.

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