Slant Magazine's Scores

For 3,022 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Celine and Julie Go Boating (1974)
Lowest review score: 0 The Moment
Score distribution:
3,022 movie reviews
  1. A film relating a story of the Holocaust is destined to provoke a number of adjectives, but "cloying" shouldn't be one of them.
  2. The dialogue is so disaffected it's as if humans were replicants even before going through the aforementioned twin-making procedure.
  3. Defiantly graceless, Brett Ratner deals in loudness, haplessness, obviousness, and, certainly, crudeness, reminding you of his directorial presence with such inclusions as a scolded kid who tells his disciplinarian to "suck it."
  4. Sarah's Key becomes a musing ("meditation" would be too generous) on the importance of uncovering the past that fails to honestly contemplate why such an act is significant.
  5. Germain's bonhomie with the bistro regulars has the feel of a TV comedy pilot, which is more than can be said of the monologues he speaks to his cat, one on the inadequacies of the dictionary.
  6. An unfocused mishmash that thrives only when it fixates on footage of actual bouts.
  7. This sequel strenuously works to form a total inversion of the first movie's relationship with food.
    • 59 Metascore
    • 75 Critic Score
    These films, and Tolkien's entire oeuvre, are most affecting in their depictions of friendship, and the performances here represent plutonic male intimacy in convincing, often moving ways.
  8. LisaGay Hamilton and Yolonda Ross play persuasively embody modern urban feminine strength, but they're eventually stranded in a recycled road movie.
  9. Some of the wittier one-liners and more affecting emotional moments feel undermined by the frenzy of chaotic excess.
  10. Joe Swanberg's idea of making audiences "happy" is by acknowledging what his supporters and detractors have been saying about him for a number of years, but presenting these things within the same game of elliptical story-unraveling and confession that's governed most of his other films.
  11. Black's script, in the wrong hands, could have come under fire for confusing Hoover's twisted mind with his homosexuality or his problems with Mother. Eastwood doesn't seem to give a fuck, and only opts for one overt visual match, depicting as mirror images Hoover's lifeless corpse and the remains of the Lindbergh baby.
  12. The film spent roughly a dozen years in development, and the moronic, corporate detritus from that long time warp is strewn about like so many improbable history lessons.
  13. A predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
  14. It offers a CliffsNotes encapsulation of Edgar Allen Poe's most enduring works for viewers unacquainted with them.
  15. Lacking much in the way of character depth, the film attempts to fill the gap with melodrama.
  16. This time around, in spotlighting Liam Neeson's fatigued charisma, Jaume Collet-Serra's formidable filmmaking chops have plateaued.
  17. Both brutal and sentimental, this Oscar-submitted Korean war drama offers up rusty tropes as telling ironies.
    • 59 Metascore
    • 75 Critic Score
    It flouts convention in a number of ways in service of its genre-mash-up agenda while still contributing something original to the tradition of the zombie film.
    • 59 Metascore
    • 50 Critic Score
    Despite the abundant surface pleasures the vision of its milieu provides, its lack of insight or engagement makes this adaptation feel, ultimately, like a missed opportunity.
  18. By formally acknowledging the material's inherent silliness ad nauseam, the filmmakers have distanced themselves from the spirit of the parody, robbing it of its gruesome pleasures.
  19. It lobs a grenade at slasher-movie sadism by making us care about the characters as more than just body-bag fodder.
  20. A phony collection of storytelling clichés held under the banner of archetype and lent a modicum of weight by the splendor of the landscape.
  21. Wholly uninterested in puffing up his subjects into an iconic rock outfit on a par with their idols Led Zeppelin and the Who, Crowe instead merely tells their story free from the constraints of rise-fall-rise clichés.
  22. While his classic hyperbolic visual style is back in force, Stone can't bother to muster any of his usual righteous anger, instead mischanneling his discontent into a kind of zen acceptance of these perpetually tiresome main characters.
  23. The filmmakers' very particular sense of lighting and framing, though handsome, often exudes a formality that perpetually stifles the story's sense of spontaneity.
  24. Lee Isaac Chung's film exudes a wonderful sense of originality, a daring and organic playfulness rarely found in American indie cinema.
  25. It's hard to say which is worse: the unfunny caricatures or the indulgent soul-searching.
    • 59 Metascore
    • 75 Critic Score
    Unlike most action films, Mission: Impossible's distinct appeal operates not so much on suspense but on improbability.
    • 59 Metascore
    • 75 Critic Score
    By turning the idea of progress on its head, the nimble Surviving Progress exquisitely presents to us the possibility that humankind's achievements may cause its downfall.

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