Slant Magazine's Scores

For 5,278 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Phantasm
Lowest review score: 0 Cold Fish
Score distribution:
5278 movie reviews
  1. The film seems to have cobbled its set pieces together from a series of close-ups edited as if by random selection.
  2. The film frequently falls back on the stately demeanor of countless other historical biopics and period pieces. Read our review.
  3. Only in its giddily gory finale does the outrageousness of the film's violence come close to matching that of its plot.
  4. The film is refreshing for its lack of pearl-clutching, its ambivalence in assessing what it’s like to be a commodity with a will and a nervous system.
  5. The film is inspirational only in the sense that it may inspire an uptick in Amazon searches for running gear.
  6. Gavin Hood wrings suspense out of the parsing of the nuances of evidence and the tapping of mysterious contacts.
  7. It never resolves its commingling of the fanciful and the mundane into a particularly coherent argument about the legacy of trauma.
  8. Castro’s feature-length directorial debut is a profound and casually artful expression of the lengths to which people go in order to not have to embody their desires.
  9. The film is beautiful and occasionally quite moving, but its subject matter deserves more than art-house irresolution.
  10. The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R.
  11. Gene Stupnitsky’s Good Boys is Big Mouth for those who prefer ribald humor about tweenage sexuality in live action, though it lacks the Netflix show’s frankness and authenticity.
  12. The film is about a mystery that isn’t solved, and how that inconclusiveness spotlights the insidious functions of society.
  13. The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together.
  14. The film more or less keeps things efficiently moving, wringing white-knuckle tension less through jump scares than from the darkness of a seemingly infinite void.
    • 54 Metascore
    • 38 Critic Score
    Over and over, the film reminds us that banking on a gimmick isn’t an adequate substitute for an incisive character portrait.
  15. At heart, Victor Kossakovsky's Aquarela is a war film: a cacophonous survey of the global battle between man and water.
  16. Once it gets past what feels like submission to genre demands, the drama reaffirms its focus on the central themes.
  17. The Kitchen’s inability to criticize its characters without falling back on mild endorsement for their warped empowerment cheapens the film’s moments of reflection, turning them into perfunctory scenes of mild protest.
  18. The film diverts us away from its hint of a social message using a series of tired twists and turns that don’t signify much of anything.
  19. Rich in intimate detail, the film attains a more epic power as it burrows deeper into the effects of China’s one-child policy.
  20. The film’s improvisational feel helps to ground a fable-esque narrative in a discernible reality.
  21. On the whole, the film is an unvarnished reflection of the ugliness of American attitudes toward assimilation.
  22. The arc of La Flor’s first three episodes, in particular, suggests someone continually working and reworking the film of their dreams, adjusting the tone, the approach, the narrative twists and the emotional intensity on the fly.
  23. The film’s action is the most extreme encapsulation yet of Dwayne Johnson’s bombastic blockbuster work.
  24. Hari Sama never quite manages to seamlessly sync the film’s anti-bourgeois political commitments to its soap-operatic register.
  25. Unfortunately, the care with which the filmmakers set up Them That Follow’s context and their characters crumbles in the final act.
  26. Claudio Giovannesi’s film is more an interesting tweak of Goodfellas than an eye-opening social statement.
  27. Playfully biting as it can be, Tel Aviv on Fire tends to falter when it loses sight of the target of its satire.
  28. The violence of Jennifer Kent’s film doesn’t seem to build upon its themes so much as repeat them.
  29. Lesage pulls focus onto the aftershocks of trauma rather than the traumatic events themselves.

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