Slant Magazine's Scores

For 2,191 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 9.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Tabu
Lowest review score: 0 33 Postcards
Score distribution:
2,191 movie reviews
  1. Despite the fact that Goodall narrates the bulk of the material, there are scant details about her concrete contributions to animal and life science save for her observing of chimp-made tools.
  2. DeMonaco may doubly, sometimes triply, underline the story's governing theme of social power and how it's exchanged, but the rage and lucidity of these ideas resonate.
  3. The film is knowingly sarcastic in its self-awareness without falling back on the gawky meta-squealing of its American rom-com counterparts.
  4. Rather than a mature, multifaceted approach, the director's portraits of Dubai, Beirut, Riyadh, and Cairo are heavy on still-photo montages comprised primarily of smiling young people and spontaneous encounters with random jokesters.
  5. Some of the film's most memorable moments involve Niall and Liam looking down on oceans of screaming devotees in the street, and controlling their cheers like orchestra conductors.
  6. The weightlessness that dominates the film is no special effect.
  7. You can tell a lot about the film from its rough handling of the materials supplied by its predecessor, using these commonalities both to identify the bond between the two and signal how much further it's willing to push things.
  8. Something like a trippy grindhouse homage whose familiar images are refracted through a prism of blacklight posters, Jodorowsky films, and even Rob Zombie's grungy psychotropic sensibility.
  9. The film is guilty of some of the same quick judgment it clearly doesn't endorse, exploiting Julian Assange's unmistakable appearance to help give itself a boogeyman.
  10. Funnier than its prior two predecessors, if gratingly awash in demographic-pandering late-'90s alt-rock hits ("Closing Time," "Freshman"), American Reunion flounders with its earnest melodrama.
  11. It ascribes to the falsehood that a rarefied milieu inherently infuses a film with intelligence, as if inept execution can be covered up by pretty lensing.
  12. The viewer is informed of a world of chaos, obsession, and irresolution, but has no cinematic means of accessing or understanding it.
  13. This dry-as-dust enterprise bogs down in an almost total lack of energy and imagination that no amount of faux earnestness can overcome.
  14. Texas Killing Fields's mood is one of drowning in quicksand, though said atmosphere is the byproduct of both Ami Canaan Mann's often dreamy direction and an editorial structure that intermittently devolves into elliptical incongruity.
  15. Allen Hughes may suggest an air of pretty menace, but he does little to make the sequence work as a legible genre scene.
  16. Caters almost exclusively to the remedial, Duplo Blocks demographic, leaving parents and guardians bored to distraction.
  17. It's as though the director, like his subjects, was too comfortable in the safe familiarity of the surface to find the place where it betrays us.
  18. Daniel Auteuil's less exercising diligent homage than indulging troglodytic cinephilia.
    • 49 Metascore
    • 63 Critic Score
    Sentimentality may make the movie's agony more digestible, but its darkness resists any glossing over of what isn't only France's, but Europe's painful legacy.
  19. The found-footage gimmick mostly comes off as window dressing for what turns out to be yet another mad-scientist-run-amok romp.
  20. At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
  21. Generally, these shorts do little to advance their own arguments, but then again, they don't need to; if the short film is the arena of students, amateurs, and small-timers, then these are overdogs from frame one, coming off every bit as expensive and banal as their makers allow them to be.
    • 49 Metascore
    • 25 Critic Score
    The Donald Rice film suffers most from an excessively blunt approach.
  22. A welcome contrast to the first film's snuff-y atmosphere and general mean-spiritedness, featuring more humor, fewer hateful characters, and occasional twinges of relatable human emotion.
  23. The movie aims for an admirable balance, but fatally upsets that equilibrium in its hurried resolutions.
  24. It confuses nostalgia for earth-shaking cultural upheaval, never really expounding on the actual effect of the Borscht Belt circuit's influence.
  25. For a film about a killing machine who can see at night, it's fittingly ironic that the film itself is, both narratively and visually, a dark, muddled mess.
    • 49 Metascore
    • 50 Critic Score
    Ana Piterbarg's handsome, if uninvolving, film privileges mood over narrative and dumb brooding over character.
  26. The sheer wastefulness of Eran Creevy's Welcome to the Punch is off-putting enough, but the film is also falsely painted-up as a crime epic.
  27. Its blind reverence toward the Russian mythos is so grandiose that it becomes impossible to rescue it from self-importance, and as such President Putin would likely give it two big thumbs up.

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