Slant Magazine's Scores

For 2,581 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 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 Star Wars: Episode I - The Phantom Menace
Score distribution:
2,581 movie reviews
  1. Oh, the things that money can buy.
  2. It's the rare coming-of-age narrative that manages to respect the tricky ambiguities of shifting perceptions.
  3. Passion is a serpentine, gorgeously orchestrated gathering of all of De Palma's pet themes and conceits, a symphony of giddy terror where people perpetually hide behind masks, both literal and figurative.
  4. The movie's final act tries, somewhat admirably, to consolidate the plot's myriad interpersonal conflicts.
  5. In comparison to its superior predecessors, the film's redemption plot feels banal and slight.
  6. The narrative doesn't want for ambition, but Marc Webb proves unwilling, or incapable, of making this unwieldy story feel like anything but a deluge of backstory.
  7. On a political level, the film is far from a Godardian dialectic, so the view of history that emerges is, to say the least, blinkered.
  8. Hysteria's happy ending isn't the type that calls for a cigarette, and it certainly isn't the one the film deserves.
    • 53 Metascore
    • 63 Critic Score
    As an election-season reminder that our democratic system isn't functioning, it serves as a welcome wake-up call
  9. It does well to put more focus on delivering a plethora of jokes, imitations, zippy repartee, and sight gags than its plot's familiar machinations.
    • 53 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.
  10. Private Romeo feels more like a side project from the producers of Glee than some kind of novel queering of Shakespeare's text.
  11. If Takeshi Kitano does go forward with the rumored third volume, hopefully he'll conceive of some fresh angle on this increasingly dry material.
  12. Fitfully engaging, but the documentary turns into a touchy-feely isn't-it-wonderful-we're-all-saved love fest as soon as the universalists begin to dominate the interview segments.
  13. An angry indie that favors hollow ridicule over credibility.
  14. If you're wondering where the Jim Carrey of "Ace Ventura: Pet Detective" and "Dumb and Dumber" fame went, don't look to Mr. Popper's Penguins for answers.
  15. The result isn't drama so much as a waking nightmare of play-acting and predestined doom.
  16. One can never fully shake the feeling that the sense of unease the filmmakers rouse, every act of seduction, infiltration, and vengeance they orchestrate, is borrowed.
  17. This nearly pitch-black comedy is better than its tiresome use of '90s pop references, no matter how much they illuminate what the gals bonded over back in the day.
  18. It's a pretty tired proposition to complain about movies being manipulative, but Café de Flore sets the bar especially low.
  19. Wagging a limp dick at a host of up-to-the-minute issues, Wanderlust, manages to feel current, and relatively funny, without ever becoming particularly pointed, resulting in a floppy but satisfactory middlebrow comedy.
  20. The relationship between the two leads neither deteriorates nor seriously improves and last-minute romantic developments don't so much as give shape to the narrative as play as perfunctory gestures of closure.
  21. The film is a quiet, tender triumph that leaves you feeling as if you've been embraced without you feeling had.
  22. The cogent character study nestled inside all the bombast remains crafty for its rare commingling of artful storytelling and genre nonsensicality.
    • 53 Metascore
    • 50 Critic Score
    As far as its subject matter goes, the documentary only scratches the surfaces, only reaffirming the simple idea that Internet censorship in China is prevalent and unfair.
  23. Whatever scant insight the prior films offered into Spain's waning Catholic belief has now been entirely replaced by fascist, cartoonish shows of wish-fulfillment prevarication.
  24. At once hopelessly amateurish and given to desperate assertions of auterist "virtuosity."
  25. Jig
    Jig doesn't twist itself into the self-important, exploitative think piece on youth ambition that Spellbound was, but it does convincingly suggest that its subjects are in it for more than sport.
  26. The constant foregrounding of so much well-executed incident only works to shortchange the heroes' yearnings and anxieties.
  27. Lynn Shelton crafts a film of astonishingly sustained mood, tying its beguiling atmosphere to the mental states of her characters.

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