Slant Magazine's Scores

For 6,500 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Score distribution:
6500 movie reviews
  1. Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.
  2. Avoiding excessively heightened melodrama, Thirteen Lives doesn’t substitute it with much that one couldn’t already find in the copious amount of available coverage of the real-life incident.
  3. Writer-director Kiro Rosso’s sociological, pseudo-documentary film suggests a mosaic resolving out of innumerable shards.
  4. The film may not suffer from didacticism, but it’s at its most volcanic when it promises to blossom into a study of a generation’s financial difficulties.
  5. The Magician might have worked better if it could have sustained for its first several sequences a sense of genre confusion.
  6. Prey proves to be an apropos title, as the film is cowed by John McTiernan’s original Predator.
  7. David Leitch’s film pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.
  8. The film relies on wide shots of distant mountains to stand in for a fruitful interrogation of what it means to occupy the open terrain of the U.S.
  9. Though its lack of emotional escalation could be read as intentional, Vengeance is ground to a repetitive halt by B.J. Novak’s preaching.
  10. Not Okay doesn’t make any points that, now over a decade into the ubiquity of social media, aren’t painfully obvious.
  11. The film’s fantastical meta-commentaries don’t completely cohere but have a winning go-for-it audaciousness.
  12. The film is a perfectly entertaining retelling of an offbeat tale, but it’s also superficial and borderline exploitative.
  13. The Gray Man is a noisy, flashy spectacle that piles clichés atop ludicrous plotting and sprinkles it all with half-funny quips, all in the hope of bulldozing the audience into submission.
  14. The film spins a soapy yet dramatically inert and often tone-deaf yarn about societal rejection and female empowerment in the wetlands of North Carolina.
  15. She Will can’t decide if its horror or comedy, nor does it strike the balance that would harmoniously hybridize them.
  16. The Deer King leaves one with the impression that it hasn’t given itself enough room to truly soar.
  17. The film’s ominous atmosphere derives less from the mystery of a disappearance and more from the scary business of getting older.
  18. Pacifiction uses its thin narrative elements as a pretense to explore the texture of uncertainty, suspicion, and inaction.
  19. Marco Bellocchio uses his film, a delicate mix of biography and autobiography, as the catalyst for long-delayed therapy.
  20. The film proves again that the modern-day veneration of Jane Austen as the patron saint of the rom-com is also an act of simplification.
  21. With so much screen time devoted to portraying its main character’s complexities, the other characters remain half-developed, and to the detriment of the film’s themes.
  22. The accumulating effect of this airy and resonant film’s formal devices is that of a heartbroken artist learning to reengage with society.
  23. Across Taika Waititi’s film, a war against the gods feels like an afterthought to a bad rom-com.
  24. The period romance has been increasingly experimented with in recent years, yet both straight dramas and convention-spoofing comedies almost always end up upholding the strict boundaries of the genre as if to prove the limits of reimagining the past.
  25. Scott Derrickson and C. Robert Cargill are adept enough at setting up rich, evocative horror concepts, but they don’t always know what to do with them once they’re in place.
  26. Dean Fleischer-Camp’s Marcel the Shell with Shoes On convincingly proves that bigger sometimes is better.
  27. The protracted rubbernecking at Elvis’s inexorable decline epitomizes a film that regularly backs away from its keenest observations about the icon to merely, and superficially, bask in his star power.
  28. The film is a slickly produced but soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.
  29. By resolving its story around a mano-a-mano, the film narrows its understanding of a system in which exploitation is privatized.
  30. The film abounds in honest and at times disarmingly off-the-cuff moments that are borne out of character contrasts.

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