Slant Magazine's Scores

For 2,918 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 8.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 The Turin Horse
Lowest review score: 0 No Escape
Score distribution:
2,918 movie reviews
  1. Given its played-out subject matter and hoary coming-to-terms narrative arc, one's ability to enjoy the film hangs on a tolerance for the ever-popular on-screen man-child.
  2. A mostly laugh-free, paint-by-numbers approach to a pair of former pros vying for relevance as they enter, kicking and screaming, into their mid 30s.
  3. The Tickells' style is a predictable grab bag of interviews with outraged experts and journalists, TV news footage, and scenes in which the filmmakers (and, during one trip, fellow activists Peter Fonda and Amy Smart) make faux-daring journeys into the fray to bring back supposed realities that corporate America seeks to hide.
  4. A historical melodrama that retains an ancient, elemental pull even as it insufficiently charts motivation and the self-denying values of antiquity.
  5. There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
  6. The documentary is ultimately a dry endeavor that feels closer in spirit to an Afterschool Special than a full-blooded movie.
  7. The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
  8. The film works because what it documents is less a transformation and more a return to a former, more natural state for its troubled protagonist.
  9. This frothy 3D concert doc often plays like a Perry ad campaign, assuring viewers that their "Teenage Dream" diva is a good, fun-loving person, and that, by God, she's doing fine.
  10. With its softened edges, bland aftertaste, and watered-down distillation of Raymond's life and career, Michael Winterbottom's film represents the house champagne of biographical cinema.
  11. Perhaps thrown by the challenge of having to direct women as men and not just as themselves, director Rodrigo Garcia turns in what may be his poorest effort to date, opting for a nearly airless tone, presenting a look that's sadly un-cinematic, and presiding over a collection of performers that seem to be operating on very different planes, and with accents of varying thicknesses.
  12. The film is somewhat flimsy, tinged with the impulse to make the elderly characters just the right amount of ridiculous for the benefit of younger viewers.
  13. The astonishing footage of apes in their natural environment is made perfectly accessible and then nearly undone by a narration track that plays to the audience's basest desires for gag-inducing cuteness.
  14. This spirited enough yarn is sincere and heartening in its belief that our devotion to these youthful myths is healthy for our sense of wonderment.
  15. There's ultimately little in the way of authentically resonant drama underneath the film's self-conscious busy-ness.
  16. Limelight focuses far too much on the club's downfall and not nearly enough on what attracted its denizens there in the first place, managing only to preach to the choir, forgetting to also take it to church.
    • 57 Metascore
    • 75 Critic Score
    The setup and geography are consistent with the original, though the film never makes the mistake of trying to rebottle the lightning that electrified Sam Raimi's movie.
  17. This adaptation is to concerned with narrative fidelity and formal objectivity to pierce the veil of power dynamics that largely comprises the film's concerns.
    • 57 Metascore
    • 12 Critic Score
    A vaporous, watered-down frappe of a fantasy epic.
  18. Tsui Hark's film is the veteran director's chance to let his imagination run riot in the context of a high-budget, 3D IMAX production.
  19. Temple of Doom doesn't so much pay tribute to the serial adventures of yore as it does embody them. Here, frivolity and evil blithely coexist—and women are a lot more likely to scream than win drinking contests.
  20. 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.
  21. Since Bart's bloodlust is never matched in tenor by his righteousness, the story remains rife with unfulfilled moral inquiry.
  22. Joan aside, the film goes down easy enough.
  23. Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
  24. 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.
  25. The plot willfully denies our satisfaction, often at the risk of compromising its own structural integrity.
  26. Shut Up Little Man! fails to legitimize its topic as one of any significance.
  27. 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.

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