For 6,500 reviews, this publication has graded:
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33% higher than the average critic
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3% same as the average critic
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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
Highest review score: | Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb | |
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Lowest review score: | Carrie Pilby |
Score distribution:
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Positive: 3,495 out of 6500
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Mixed: 1,258 out of 6500
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Negative: 1,747 out of 6500
6500
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Mark Hanson
Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.- Slant Magazine
- Posted Aug 10, 2022
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Reviewed by
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Reviewed by
Pat Brown
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.- Slant Magazine
- Posted Aug 10, 2022
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Reviewed by
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Reviewed by
William Repass
Writer-director Kiro Rosso’s sociological, pseudo-documentary film suggests a mosaic resolving out of innumerable shards.- Slant Magazine
- Posted Aug 9, 2022
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Reviewed by
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Reviewed by
Wes Greene
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.- Slant Magazine
- Posted Aug 7, 2022
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Reviewed by
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Reviewed by
Diego Semerene
The Magician might have worked better if it could have sustained for its first several sequences a sense of genre confusion.- Slant Magazine
- Posted Aug 4, 2022
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Reviewed by
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Reviewed by
Chuck Bowen
Prey proves to be an apropos title, as the film is cowed by John McTiernan’s original Predator.- Slant Magazine
- Posted Aug 3, 2022
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Reviewed by
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Reviewed by
Wes Greene
David Leitch’s film pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.- Slant Magazine
- Posted Aug 2, 2022
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Reviewed by
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Reviewed by
Clayton Dillard
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.- Slant Magazine
- Posted Jul 26, 2022
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Reviewed by
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Reviewed by
Chuck Bowen
Though its lack of emotional escalation could be read as intentional, Vengeance is ground to a repetitive halt by B.J. Novak’s preaching.- Slant Magazine
- Posted Jul 26, 2022
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Reviewed by
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Reviewed by
Derek Smith
Not Okay doesn’t make any points that, now over a decade into the ubiquity of social media, aren’t painfully obvious.- Slant Magazine
- Posted Jul 25, 2022
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Reviewed by
Chris Barsanti
The film’s fantastical meta-commentaries don’t completely cohere but have a winning go-for-it audaciousness.- Slant Magazine
- Posted Jul 20, 2022
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Reviewed by
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Reviewed by
Derek Smith
The film is a perfectly entertaining retelling of an offbeat tale, but it’s also superficial and borderline exploitative.- Slant Magazine
- Posted Jul 19, 2022
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Reviewed by
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Reviewed by
Chris Barsanti
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.- Slant Magazine
- Posted Jul 14, 2022
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Reviewed by
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Reviewed by
Derek Smith
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.- Slant Magazine
- Posted Jul 13, 2022
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Reviewed by
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Reviewed by
William Repass
She Will can’t decide if its horror or comedy, nor does it strike the balance that would harmoniously hybridize them.- Slant Magazine
- Posted Jul 11, 2022
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Reviewed by
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Reviewed by
Steven Scaife
The Deer King leaves one with the impression that it hasn’t given itself enough room to truly soar.- Slant Magazine
- Posted Jul 11, 2022
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Reviewed by
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Reviewed by
Wes Greene
The film’s ominous atmosphere derives less from the mystery of a disappearance and more from the scary business of getting older.- Slant Magazine
- Posted Jul 11, 2022
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Reviewed by
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Reviewed by
Carson Lund
Pacifiction uses its thin narrative elements as a pretense to explore the texture of uncertainty, suspicion, and inaction.- Slant Magazine
- Posted Jul 8, 2022
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Reviewed by
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Reviewed by
Jake Cole
Marco Bellocchio uses his film, a delicate mix of biography and autobiography, as the catalyst for long-delayed therapy.- Slant Magazine
- Posted Jul 7, 2022
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Reviewed by
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Reviewed by
Jake Cole
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.- Slant Magazine
- Posted Jul 7, 2022
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Reviewed by
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Reviewed by
William Repass
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.- Slant Magazine
- Posted Jul 5, 2022
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Reviewed by
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Reviewed by
Chuck Bowen
The accumulating effect of this airy and resonant film’s formal devices is that of a heartbroken artist learning to reengage with society.- Slant Magazine
- Posted Jul 5, 2022
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Reviewed by
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Reviewed by
Jake Cole
Across Taika Waititi’s film, a war against the gods feels like an afterthought to a bad rom-com.- Slant Magazine
- Posted Jul 5, 2022
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Reviewed by
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Reviewed by
Jake Cole
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.- Slant Magazine
- Posted Jun 28, 2022
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Reviewed by
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Reviewed by
Keith Watson
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.- Slant Magazine
- Posted Jun 22, 2022
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Reviewed by
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Reviewed by
Derek Smith
Dean Fleischer-Camp’s Marcel the Shell with Shoes On convincingly proves that bigger sometimes is better.- Slant Magazine
- Posted Jun 20, 2022
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Reviewed by
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Reviewed by
Jake Cole
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.- Slant Magazine
- Posted Jun 16, 2022
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Reviewed by
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Reviewed by
Keith Watson
The film is a slickly produced but soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.- Slant Magazine
- Posted Jun 13, 2022
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Reviewed by
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Reviewed by
Jake Cole
By resolving its story around a mano-a-mano, the film narrows its understanding of a system in which exploitation is privatized.- Slant Magazine
- Posted Jun 13, 2022
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Reviewed by
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Reviewed by
Wes Greene
The film abounds in honest and at times disarmingly off-the-cuff moments that are borne out of character contrasts.- Slant Magazine
- Posted Jun 13, 2022
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Reviewed by