Slant Magazine's Scores

For 2,845 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 9.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Good for Nothing
Score distribution:
2,845 movie reviews
  1. This isn't a film of bedside conversions or radical emotional transformations, nor is it a story about laughing at one's own hardships as a coping mechanism.
  2. Does Katie Holmes's hubby get script-doctoring rights even on her own film projects? That would explain why Troy Nixey's inane Don't Be Afraid of the Dark, co-written and produced by Guillermo del Toro, at times suggests an anti-Rx PSA.
  3. The film deposits its heroine and everyone in the audience looking toward her for image-maintaining guidance back at square one.
  4. Even when Wagner & Me seems uneven as an art historical study, it's fairly successful as a travelogue.
  5. There's but one sequence in the entire movie that offers even the slightest bit of filmmaking verve, and even this speaks to the project's essential myopia.
  6. The film is no tearjerker, but it makes the stage play's hidebound, soul-baring pleasures mesmerizing on screen, and without copping to reductivism.
  7. It's a buzzkill to enter the world of Minions primed for a tidal wave of gibberish-talking lemmings to tear the roof off, only to see them once again led astray by the ordinariness of human affairs.
  8. If familiarity is endemic to this feel-good drama, there's nonetheless also something to be said for competent amalgamation and regurgitation of tired genre tropes.
  9. Charlie Paul isn't content to let his stock footage and interviewees lead for him, driven as he is to "make something out of a frame of mind," though to needlessly busy effect.
  10. The Rum Diary, Bruce Robinson's amorphous hodgepodge of a film, wants to be many things: period recreation, social commentary, morality play, romance, an insider look at the newspaper game.
  11. Ultimately, the film is too nihilistic to believe its protagonist can be saved, declaring him a lost soul and satisfied to let him suffer.
  12. We may have all wanted to know the story behind those famed horns, but the mystery was far preferable to having Maleficent de-fanged and de-clawed in the process.
  13. It gives us a series of images that, free from definitive context, form a new reality of their own, a small composite portrait of previously untold stories.
  14. David Gordon Green stages even fleeting tonal palate cleansers with a self-consciousness that parallels Al Pacino's acting.
  15. The film's attempt at political commentary amounts to a half-baked treatise on good governance in the face of tyranny and socioeconomic exploitation.
  16. The film is at once enabled and hindered by its utter strangeness, an intrinsic quality surely exacerbated in its English-language release.
  17. Chris Messina is eventually a little too indifferent to the machinations of the plot, but the film, however inescapably sentimental, is a romantic daydream that casts a lovely spell.
    • 56 Metascore
    • 63 Critic Score
    It threatens to succumb to hero worship, but Jorge Hinojosa wisely subverts Slim's mythos by pulling the curtain back on it in the doc's second half by revealing the man beneath.
    • 56 Metascore
    • 38 Critic Score
    Dominik Moll never addresses Matthew Gregory Lewis's original groundbreaking ideas in the film, nor does he rework the material for a contemporary audience.
  18. After what seems like an eternity of inanity and incompetence in the realm of Cats & Dogs and Squeakquels, the Farrelly brothers' direction is downright classical.
  19. Arvin Chen's Taiwan is dominated by eccentricity in tone and atmosphere, but in a very careful, pronounced way, as to never really run the danger of being truly strange.
    • 56 Metascore
    • 63 Critic Score
    Jamie Kastner bows fully to hedonism in lieu of all the scholarly theories on disco's lasting impact--a tidy but gutless way of tying together so many disparate arguments by such disparate people.
  20. That Dom is so clearly an up-to-11 caricature, embodied with reliable pizzazz by Jude Law, makes the sentimental moments feel especially false.
  21. Pedro Almodóvar's diverting pop-art bauble firmly placing the "relief" in comic relief and the "cock" in cockpit.
    • 55 Metascore
    • 38 Critic Score
    The doc doesn't take the time to examine why Burning Man inspires such a level of fanaticism, overshadowing human interest with a gluttony of B roll.
  22. With the foul-mouthed dramedy Friends with Kids, writer/producer/director/star Jennifer Westfeldt is juggling so much, it's a wonder there aren't more jokes about balls.
    • 55 Metascore
    • 88 Critic Score
    In almost every respect, Extraterrestrial is an exceptional and traditional romantic comedy. It just happens to be set during an alien invasion.
  23. All its faux-patriotism isn't played for satire, but instead utilized to align the film with an idyllic, unquestioned vision of goodness.
  24. Under the modern mannerisms lies a rather clumsily Romantic -- one might say Wordsworthian -- rant that juxtaposes urbanity against a nebulous, fictitious past.
    • 55 Metascore
    • 50 Critic Score
    The Harvest/La Cosecha is another entry in the fast-growing agri-doc genre that seeks to upend naïve ideas of where your food comes from.

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