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 Level Five
Lowest review score: 0 The Oranges
Score distribution:
2,191 movie reviews
  1. The overall product doesn't reveal anything about its subject that a Wikipedia page couldn't do just as well.
  2. A year in the life of a young woman unhappy in love and uncertain in career, Lola Versus could easily be faulted for the narrowness of its worldview.
  3. If this oddly delineated narrative often falls between two stools, then the replacement of brightly bombastic opera battles with dimly lit, more conventional action sequences is a similarly unwelcome development.
  4. Claude Miller's swan song not only shares its main character's name but also her tempered disposition.
  5. The key to good, or at least effective, agitprop (and Oliver Stone and Michael Moore know this) is that, yes, it must simplify matters, but it necessitates canny presentation so that it may truly get into viewers' blood streams and rile them.
  6. Watching 30 Minutes or Less, a proudly stupid action comedy that's awfully lethargic for all its slam-bang propulsion, it's tough to pinpoint who exactly Ruben Fleischer thinks he is.
  7. Ken Urban, adapting his own play, fumbles at injections of urban, and decidedly not urbane, levity, in addition to telegraphing entire subplots.
  8. Yet another example of modern-family predicaments getting stuffed into the traditional-family-values message of conventional comedies.
  9. Silent House dies a sudden and egregious death when the amateur players in Olsen's company, Adam Trese and Eric Sheffer Stevens, as her character Sarah's father and uncle, respectively, open their traps.
  10. Engendering an experience both visually slick and narratively sprawling, the apropos-of-nothing professionalism of Protektor often feels more like branding than filmmaking.
  11. The intersection between drug-company profiteering and lobbying, and governmental and private-sector desires to protect people from deadly diseases, is navigated too cursorily by the documentary.
  12. Like its sad-sack main character, whose closed-off personality makes him hard to fully understand or sympathize with, The Happy Poet is too reservedly rough around the edges.
  13. In the end, any and all potential B-movie fun is extinguished by Ragnarok's depressingly listless anonymity.
  14. Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
  15. Director Leon Ford displays a wonderful empathy in his examination of Griff and Melody's lonely environments, allowing their fringe perspectives to flower organically from the mise-en-scène.
  16. The net effect is a shapeless would-be diversion in which things just happen independently, a string of effects missing any cause.
  17. Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats, at the expense of elaborating on his main character's growing feelings of isolation and torment.
  18. Spike Lee's version loses the one thing that really worked in the original, the sense of moral complication emerging out of the intertwined action of two men hell-bent on retribution.
  19. Jill Soloway's film is dishonest in the way it attempts to mask self-pity as enlightened self-criticism.
  20. As Renny Harlin's career progresses, it seems more and more that his early gems were merely happy accidents.
  21. For anyone who prefers their assertive homilies to crust over like a syrupy sweet, this loose adaptation of Langston Hughes's beloved holiday tradition will come on like a dream fulfilled.
  22. While We the Party can be insensitive, or blind, to the misogyny and homophobia of the general culture (the token gay teen is a finger-snapping, head-bobbing fashionista), it takes the issues of race and class quite seriously.
    • 48 Metascore
    • 38 Critic Score
    Unlike his father, Gotham Chopra is more interested in his own latent daddy issues than with questions of cosmic import.
  23. Wither the rollicking verve and whip-crack humor in Sherlock Holmes: A Game of Shadows?
  24. What could have been a spirited dissection of Jay-Z's optimistic enterprise is instead merely an advertisement for it.
  25. Autoerotic's take on the me-me-me generation's inability for actual contact seems appropriate, but it lacks the nuance that makes "Denise Calls Up" so delicious to watch.
  26. The film is as emotionally manipulative as the show, but it's never appeared more truthful in its aspiration to inspire - and profit in the process.
    • 48 Metascore
    • 38 Critic Score
    Despite their supposedly good intentions, the comedian-filmmakers broach the doc's central subject with crass and offensive standup routines that wouldn't be out of place on the Blue Collar Comedy Tour.
  27. The film transcends the déjà vu of its borrowed trappings but ironically sacrifices all momentum in favor of a long series of physical tests.

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