Slant Magazine's Scores

For 2,794 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 9.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Star Wars: Episode I - The Phantom Menace
Score distribution:
2,794 movie reviews
  1. The film soon settles into a confident, well-staged groove, primarily because of two unambiguously terrific performances.
    • 57 Metascore
    • 25 Critic Score
    A crass and uncharacteristically threadbare cash-grab.
  2. Since Bart's bloodlust is never matched in tenor by his righteousness, the story remains rife with unfulfilled moral inquiry.
  3. Joan aside, the film goes down easy enough.
  4. Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
  5. The perverse thrill of seeing less-than-popular considerations of Nazism on screen fades hurriedly to the old ache of seeing any kind of questions about Nazism answered noxiously.
  6. The plot willfully denies our satisfaction, often at the risk of compromising its own structural integrity.
  7. Shut Up Little Man! fails to legitimize its topic as one of any significance.
  8. As feminist fantasy, the film is non-committal, and as a reimagining of the fairy tale, it's at best expensive-looking without seeming wantonly so.
  9. Despite the counter-culture subjects at its core, Daniel Algrant's film possesses a put-upon hipness that cannot mask its disarming dorkiness.
  10. It's difficult to swallow the premise of yet another tale of a heroic white Westerner with good intentions trying to give hope to Middle-Eastern misery.
  11. Brighton Rock never brings its baby-faced hood antihero, the scarfaced Pinkie Brown (Sam Riley, pouting and hunched in the late-DiCaprio manner), into a semblance of human plausibility.
  12. Throughout, BenoƮt Jacquot never loses sight of the primordial compulsions that drive feelings and expressions of great love and beauty.
  13. All of Scott Frank's thematic concerns are little more than window dressing for a run-of-the-mill detective story in line with '90s thrillers like The Bone Collector.
  14. As its titular tyrants, Spacey, Aniston, and Farrell all revel in their over-the-top noxiousness, though the latter is mysteriously given short shrift even though his performance is far and way the most novel and gonzo.
  15. Glomming conceits and situations from a vast range of similarly themed films, it ambles along in a lethargic, good-natured manner, fitfully amusing but never approaching substantial.
  16. The premise isn't even worthy of executive producer Guillermo del Toro, who will apparently lend his name to any film as long as it fulfills its quota of moths and vulvic openings.
  17. A would-be thriller masquerading a long, dry monument to the reliability and comfort of community, blindly cocooned by its own nostalgic self-regard.
    • 57 Metascore
    • 25 Critic Score
    Though Anthony Baxter seems driven by empathy rather than greed, his film is ultimately as reductive and misleading as the expensive Trump PR campaigns he righteously rails against.
  18. To hose down the white elephant in the room right off the bat, yes, it falls into place as a coming-of-age spin on the Manic Pixie Dream Girl archetype.
  19. It transforms itself from a meek lo-fi indie stalker thriller in the key of May to a hysterically sexist and homophobic revenge film.
  20. It treats its characters as placeholders for philosophical arguments and spends the majority of its running time trying to "solve" existential mysteries without adequately exploring them.
  21. Part end-of-life romance, part grossly manipulative mush, the film tries to stare grief and mortality in the face while practically shitting rainbows.
  22. The film takes on high-concept ideas that it can't sustain, and which only make its other problems more obvious.
  23. All this should build up to a moderately engaging battle of wits, but Richard Wenk's script has little interest in wit and no capacity for psychology.
  24. In keeping his actors on his sober-yet-buoyant plane, Kenneth Branagh presents a convincing romance that doesn't stall the film's brisk clip.
  25. It's a quiet thud of a film, which embraces, with grace and precision, the nastiness of growing up with desire stuck in one's throat like a muffled scream.
  26. The banter is playful and brazenly self-aware, but the ideas are a bit stale and don't lead anywhere emotionally substantial or narratively spontaneous.
    • 56 Metascore
    • 63 Critic Score
    The film's forced quirkiness and repeated displays of bro-ism in action hinder the potential for a more subtle approach to the potentially challenging issue the story depicts.
  27. The title is apropos, but it's also an understatement.

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