Slant Magazine's Scores

For 2,675 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:
2,675 movie reviews
  1. It would have been nice if the film had surrendered to its lunacy more blatantly, more carelessly.
  2. All Is Bright remains engaging, for the most part, but most of the big narrative turns feel both predictable and forced, and at odds with the natural charms of the cast.
  3. What's worst about the film is how it appropriates its main character's noncommittal selfishness to support its own quaint, anti-establishment themes.
  4. Whitney Houston's death is just about the only thing that gives the film real, albeit mostly unintentional, life.
  5. A choppy, feature-length progression of crude, predictable gags, the film plays like a variety show, and yet its main attraction is barely funny enough to warrant his own brief sketch.
  6. The images gorgeously embody both the fear and the beauty of James's exploratory experiments with socialization.
  7. Love is both a many-splendored and painful thing according to Love Etc., a multi-subject documentary about the various states of amour that, while never succumbing to glibness, also fails to rise above superficial geniality.
  8. Down the Shore suggests what might happen if TBS and Bruce Springsteen were to collaborate on a sitcom set in hell.
  9. Writer-director Jason Banker finds the ironic beauty that arises from his characters' self-contemptuous and misplaced acts of destruction.
  10. The film works best when it shows Jonathan Daniel Brown's drug kingpin at his most inept and incapable, rather than elevating him to a pothead martyr.
  11. A half-hearted morality tale about taking responsibility for your actions as a sign of impending maturity.
  12. Though it begins by spending far too much time talking up the comic's quality, it gradually finds a groove as an incisive portrait of an insecure industry.
  13. No matter how much Bertrand Bonello varies his split screens, triptychs, and geometric screen divisions, he forgets that one of the most fashionable virtues is knowing when to leave.
  14. The source material, which is convoluted even by Shakespeare's narratively dexterous standards, is admittedly a tough nut for a filmmaker to crack.
  15. The film plays coy with its quintessential indie-dramedy setup, eschewing narrative and tension in favor of convivial character interplay and master shots of wintry landscapes.
  16. A raw, sophisticated, and stomach-turning look at what it means to be a young woman in Serbia, what it means to be a woman tout court.
    • 54 Metascore
    • 75 Critic Score
    If you think of Wall Street as capitalism's symbolic headquarters, filmmakers Allan Sekula and Noël Burch more or less show us in The Forgotten Space how the sea is capitalism's global trading floor writ large.
    • 54 Metascore
    • 25 Critic Score
    Redlegs may be "raw," but it's meaningless. That's something Cassavetes would have never abided.
  17. The expansion has the unintended and unfortunate effect of doing exactly the same thing to Alexander he accused his family of doing in the first place: marginalizing him.
  18. The wonder and terror of Meryl Streep's performance in The Iron Lady is her formidable ability to nail the disheartening talents of not just Margaret Thatcher, but so many conservative politicians like her, who have a tremendous knack for changing minds and beckoning cheers while underlining their own rigid ignorance.
  19. Uses the perils of immigrating to this country without papers as a backdrop for a poor white American woman's bumpy path to enlightenment.
    • 54 Metascore
    • 12 Critic Score
    Absent of any sense of self-awareness, Oblivion seems only self-serious, a ponderous mess both misguided and unaware.
  20. The film is a sporadically entertaining, modestly ambitious shoot 'em up that frequently succumbs to spelling out its subtext.
  21. Michael J. Weithorn's direction underlined its understatement via self-consciously patient camerawork and a doleful score, all in order to further the mournful mood.
  22. The cruelly obvious third act congeals the film as a wet-eyed monument to the Kevin Costner character's particular brand of American manliness, one that values gut instinct, it's implied, over cold and ruthless calculations.
  23. Peter Sattler's film feels quintessentially Sundance: an expensively mounted treatise on important issues that's terrified to dig in obsessively, yet so ramrod-stiff with indignation that it never comes anywhere near compelling entertainment.
  24. The documentary's refusal to challenge the comfort zones of its target audience is apparent throughout.
  25. For all the revelations about the way the rich operate, there's little juicy pleasure to be had in the proceedings.
    • 54 Metascore
    • 63 Critic Score
    Manages to be an entertaining and faithful expansion on the original material while being inconsequential to it.
    • 54 Metascore
    • 12 Critic Score
    It's one thing to defer to archetypes, but Tomorrow is so full of stock types and clichés it makes "The Breakfast Club" look like "Nashville."

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