Slant Magazine's Scores

For 2,281 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 9.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Almayer's Folly
Lowest review score: 0 Scatter My Ashes at Bergdorf's
Score distribution:
2,281 movie reviews
  1. It's the moments when director Alan Brown stops worrying about clarifying plot and character motivation and lets the performances bring those into being that makes this an authentic project.
  2. After 30 long minutes, I stopped trying to make allowances for its varying ineptitudes, and Carice van Houten's work as the spunky human cat was the only reason I held out that long.
  3. The specific narrative handicaps throughout are mostly too banal to warrant exegesis, though the choice of vintage pop tunes for dramatic underscoring is particularly grating.
  4. Jeff Baena's film, at heart, is just another overly familiar story of a boy struggling to get over his first love and who's rewarded for his troubles with a less volatile replacement model.
  5. Director Casper Andreas does a good job conserving a simultaneous sense of disgust and attraction for the way big-city dreams end up stripping off wannabes from everything but their bodies.
  6. The film is eventually revealed as less interested in subverting or playing off its influences than rigorously retracing them.
  7. Terry Gilliam has imposed a mix tape of his greatest hits, whose greatness was debatable to begin with, on a whiff of a story that might've flourished under the maxim "less is more."
  8. Mark Jackson's direction strips much of the agency from any character's grasp by insisting that their dilemmas can only be revealed with stone-faced austerity.
  9. Like many films early in a director's career, it plays more as a sketchbook of intended future endeavors than as a cohesive and fully realized vision in its own right.
  10. The film is as incompetent, manipulative, safe, and disposable as any number of nickel-and-dime actioners, but goes to great, unconvincing lengths to insist it's different.
  11. Mothers and sons deserve an amiable comedy they can share, but this one proves to be faulty long before the requisite freeway breakdown.
    • 50 Metascore
    • 50 Critic Score
    Switch is possibly the driest and most balanced documentary on the current energy crisis.
  12. A lumpy spoof of electoral mudslinging that offers some bracing bipartisan contempt amid the lowbrow, labored slapstick.
  13. Hood to Coast mostly suffers from an incessant soundtrack that stuffs the film with a peppiness that blocks the tragedy of its characters from view, as well as their overcoming it.
    • 50 Metascore
    • 38 Critic Score
    Elya Inbar is a surprisingly commanding screen presence, but she's contending with a screenplay plagued by contrivance--a battle few could win.
  14. James Franco's general aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
  15. Shit Year is a thematic twin to Billy Wilder's "Sunset Boulevard," both heightened fables about the slow disintegration of a retired actress mourning her now-dead career by retreating inward.
  16. James Franco's readiness in approaching famously abstract source material certainly doesn't translate well into his directorial formalism, or, more appropriately, lack of formalism.
  17. The film's inconsistent, largely bankrupt style is second to how hard and tackily it leans on the horror of child abuse to goose audiences.
  18. There's nothing behind all this sturm und drang but a lineup of insubstantial ciphers, all false fronts and empty words in a pretend world not quite conducive to emotional investment.
    • 50 Metascore
    • 38 Critic Score
    Scott Stewart's Dark Skies is the definitive horror film for the Tea Party era.
  19. There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced.
  20. We're supposed to take their self-pity at face value, an impression that's emphasized by a grinding monotonous humorlessness.
  21. The film is ultimately draining because of the way it handles Anne, stranding a potentially dynamic character in two dueling scenarios, both of which are drab and unsurprising.
  22. Brandishing a literal-minded title as laughable as the rest of its action, Cowboys & Aliens mashes up genres with a staunch dedication to getting everything wrong, making sure that each scene is more inane than the one that preceded it.
  23. 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.
  24. Nicholas Pereda shows nothing short of immense promise here, especially in his enigmatic framing and collaborative effort with his regular DP, Alejandro Colonado.
  25. The Mighty Macs is a film from another planet, where stories are told, obliviously, in cryptic, nonsensical code, and people talk to each other in sugarplum proverbs no earthbound adult would ever inflict on another, not even on the set of a Hallmark Original Movie.
  26. As a space-opera lampoon, it's incoherent primarily because it's never clear what the filmmakers are attempting to spoof.

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