Slant Magazine's Scores

For 2,483 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 Beginners
Lowest review score: 0 Hansel and Gretel: Witch Hunters
Score distribution:
2,483 movie reviews
    • 54 Metascore
    • 63 Critic Score
    Manages to be an entertaining and faithful expansion on the original material while being inconsequential to it.
    • 54 Metascore
    • 12 Critic Score
    It's one thing to defer to archetypes, but Tomorrow is so full of stock types and clichés it makes "The Breakfast Club" look like "Nashville."
    • 54 Metascore
    • 63 Critic Score
    The issue remains that this variety of faux-populism seems better suited to the soapbox than the silver screen.
  1. Putting aside the generic human interest, the film turns out to be shockingly deficient in its on-screen depiction of flexing.
  2. It subtly counteracts the cliché that creative expression can save your life by making its protagonist a hipster Peter Pan whose creative expression is an excuse not to grow up.
  3. The film has, at its source, a pool of affectations that so often constitute, or plague, American indie films--and, perhaps, American culture more generally.
  4. To watch the film is to wonder once again why Neil LaBute was ever taken seriously as a so-called dramatist of the gulf between the sexes.
  5. Boasts an evocative sense of environment and the feel of working with one's hands, but otherwise rummages around in search of substance and subtlety.
  6. Content to faithfully hew to convention, A Single Shot rarely surprises, but its portrait of foolishness and fallibility, and its atmosphere of inevitable doom, remain sturdy and captivating.
  7. Ellison's fascination with celluloid to solve a crime recalls Antonioni's "Blowup," but Scott Derrickson is unable to conjure an aura that isn't as transparent and weightless as a ghost.
  8. Director David Frankel can't lend the inflated sitcom dilemmas of the characters any life, and most mysteriously screenwriter Howard Franklin, whose work in the '90s frequently had appealing quirk and flavor, gets the dubious credit for adapting a 1998 nonfiction book about these hobbyists' pursuit of pink-footed geese and Northern Shovelers.
    • 53 Metascore
    • 25 Critic Score
    Sadly, those looking for any insight into Journey from Ramona Diaz's documentary are going to have to look elsewhere.
  9. Books themselves become the story's key symbol, representing the past and future, loss and possibility, of a place that's ground zero for some of history's darkest days.
  10. Now that Zooey Deschanel has taken a detour into TV land, is Audrey Tautou the most insufferable pixy presence in cinema today?
    • 53 Metascore
    • 25 Critic Score
    Some voices of reason and skepticism do make an appearance to rebut and deflate Bill and Aubrey's monumental claims, but aren't allowed to fully elaborate on their arguments.
  11. Only Jackie Chan, in a comedic supporting role as a Zen-trained cook who applies his culinary techniques on the battlefield (he "stir-fries" one enemy in a giant pot and "kneads" another like dough), provides any measure of relief.
  12. An energetic but paper-thin genre exercise, filled with pleasant riffs on the standard heist flick, but ultimately lacking in payoff.
  13. Paddy Considine's benumbed ambiguity at least works against writer-director Shan Khan's reduction of honor killings to grist for the cheapest of pulpy thrills.
  14. Much like the work of generational cohort Michael Robinson, Alex Ross Perry's films are steeped in a viscous cultural past.
  15. Comes off as little more than a feature-length trashing of colleagues who director and celebrity photographer Kevin Mazur feels are giving his profession a bad name.
  16. Despite its title, there's actually very little dancing, or rhythmic flair, in You Don't Need Feet to Dance.
  17. If Robert De Niro knew what was good for him, he'd certainly distance himself from this director and find a new path.
  18. Not even its problematically touristic gaze is enough to derail the fascination of this absurd tale's many nightmarish twists and turns.
  19. Say what you will about Burning Man, but writer-director Jonathan Teplitsky can't be accused of spoon-feeding his audience.
  20. Oh, the things that money can buy.
  21. It's the rare coming-of-age narrative that manages to respect the tricky ambiguities of shifting perceptions.
  22. Passion is a serpentine, gorgeously orchestrated gathering of all of De Palma's pet themes and conceits, a symphony of giddy terror where people perpetually hide behind masks, both literal and figurative.
  23. The movie's final act tries, somewhat admirably, to consolidate the plot's myriad interpersonal conflicts.
  24. In comparison to its superior predecessors, the film's redemption plot feels banal and slight.
  25. The narrative doesn't want for ambition, but Marc Webb proves unwilling, or incapable, of making this unwieldy story feel like anything but a deluge of backstory.

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