Slant Magazine's Scores

For 2,432 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 9.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 You're Next
Lowest review score: 0 Here Comes the Boom
Score distribution:
2,432 movie reviews
    • 52 Metascore
    • 38 Critic Score
    Even taking into consideration the fact the A.J. Edwards edited To the Wonder, it's hard to recall a film so immensely and reductively in thrall to the work of another director.
  1. The film hints at a kicky, impressionistic style that director José Henrique Fonseca never effectively employs to actually communicate Heleno de Freitas's demons.
  2. The film's first act is wholly concerned with the juxtaposition of physical similarities and ideological opposites, and Tamahori spends entire sequences upending the balance between the two.
  3. Characters are better employed; emotions are, for once, palpable; and the selfishness of Bella, author Stephenie Meyer's avatar, is finally somewhat squelched.
  4. It ironically reveals its intent to suture shut any remote ambivalence regarding its own gung-ho ethos, in effect engaging the same sort of oppressively dogmatic tactics it so outwardly denigrates.
  5. This is a powerful chapter in our human history, but it's made melodramatic and dull through Matej Minac's indulgence of hokey reenactments and sound-augmented archival footage.
    • 52 Metascore
    • 38 Critic Score
    The adventitious use of loud and strange blasts of music may theoretically make sense to heighten the film's creepiness, but here, like everything else, they don't exactly make a perfect fit and serve more as the final nail in the coffin for the film's lack of tonal cohesion.
    • 52 Metascore
    • 75 Critic Score
    Illustrates the problem of class mobility with a dark, troubling premise that holds a harsh light up to our own assumptions and expectations.
  6. Essentially a live-action anime, it sweats rivulets of Tarantino-era digital anxiety from all pores--every kick, punch, pan, and zoom exaggerated for maximum impact.
  7. The director avoids all manner of stylistics, opting instead for the formulaic doc trifecta of first-person interviews, archival material, and news footage.
  8. A heartfelt retro flashback littered with pop-culture iconography and much slang, it focuses on the importance of friendship and loyalty rather than social standing.
  9. It doesn't take long to realize that Ridley Scott's adaptation is only aiming for certain forms of credibility, and callously eschewing others.
  10. You know a film isn't going to be considered high art when the guy to your left at the press screening is a reporter from Extra and the guy to your right lets out a loud "That's awesome, man" after each scene.
    • 52 Metascore
    • 38 Critic Score
    Any potential flights of invention or creativity are subordinate to the plain and emphatic delivery of life lessons.
  11. It essentially uses a major global issue to cheaply dress up what is two hours of hit-and-miss erection jokes.
  12. The women of the film certainly deserve better, as they're often relegated to the role of victim, harmed or murdered simply to propel the plot along.
  13. Christopher Felver is too reverent to properly convey the invigoratingly profane, angry messiness of the sense of community that Lawrence Ferlinghetti and his peers too briefly brought to life.
  14. George Clooney's film boils a big, messy maelstrom of theft and uncertainty down to a digestible, faintly appetizing mush.
  15. It unnecessarily hampers itself for over an hour for the sake of a gotcha moment before finally allowing its actors to explore something more than generic grief.
  16. It reveals itself to be a profoundly cynical movie posing as a work of idealism, and it's all the more insidious because it's otherwise so bland and forgettable.
  17. And that's the thing with Epic: It's something close to an animated masterpiece, provided it's watched on mute.
  18. First thing to get out of the way: No, David M. Rosenthal's third feature, Janie Jones, has nothing to do with the famous song by the same name that opens the Clash's self-titled 1977 debut album. Perhaps that might have made this film far more interesting film it is.
  19. It'd be unwise to dismiss Safe House as merely a clone of Tony Scott's manically inclined vision.
  20. P. David Ebersole so busy flitters from one point of interest to another that Hit So Hard never coheres into anything other than a collection of rock-star clichés.
  21. Tina Gordon Chism's film collapses into a series of clumsy improvisatory sketches, tied up in cheap, risibly sentimental catharsis.
  22. Every shot is painstakingly thought out, but less emphasis is placed on the human face than on the surfaces that reflect it and the objects that obscure it, and the overall effect is close to that of fetish art.
  23. A better film would have had the gumption to maintain the poetic bleakness, rather than steer toward what ultimately feels like safe compromise.
  24. David Frankel crams his story with predictable developments, yet he matches his subject in spirit, pushing something into the spotlight that, however unlikely, elicits irresistible glee.
  25. Ultimately the film is, like the Faux News programming it caricatures at face value, a deck-stacking simulation of a dialogue it isn't even remotely interested in opening.
  26. The interpolations of "heavenly" sequences of Jeremy Lin playing basketball against CGI backdrops offer a hokey visual analogue for the intersection of faith and sports in his life.

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