Slant Magazine's Scores

For 6,253 reviews, this publication has graded:
  • 34% higher than the average critic
  • 3% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Score distribution:
6253 movie reviews
  1. At their best, writer-director Mario Furloni and Kate McLean evince a masterful grasp of storytelling that’s subtle and rich in innuendo.
  2. As far as improvements go, Michael Myers’s revitalized brutality is arguably the only successful one that Halloween Kills makes.
  3. The film is too blinded by manufactured sentimentality to see the more compelling what-if scenario lying right in front of its eyes.
  4. Alex Camilleri’s most significant departures from his influences take place on the level of content, but, thankfully, they strain the integrity of the neorealist framework just enough to keep Luzzu fresh, if not revolutionary.
  5. The film is a ghost story as well as a story of transference, which Pedro Almodóvar understands to be one in the same.
  6. Ridley Scott’s medieval saga insightfully revels in the complexities of its competing storylines.
  7. Aside from being a thrilling account of a hair-raising rescue, Elizabeth Chai Vasarhelyi and Jimmy Chin’s documentary attests to living a calling.
  8. Evangelion 2.0 evolves the original show’s central conceit of being alone together with other people in leaps and bounds. The problem with that is: Neon Genesis Evangelion was never a leaps-and-bounds kind of show.
  9. Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
  10. For too much of its running time, Panah Panahi’s film is untethered from any kind of captivating narrative purpose.
  11. In the hands of its cast, Mass gives such precise and profound expression to the totality of grief that it comes to feel downright palpable.
  12. The film feels like a missed opportunity to interrogate society’s fervent need to make pariahs out of people for their past mistakes.
  13. The title isn’t only a promise of so much destruction to come, but also inadvertently an assurance that its most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
  14. This Bond’s overall arc from modishly merciless killing machine to aging assassin with the familial feels comes off as a treacly sop to psychological complexity.
  15. The film circles a thorny premise, which makes it all the more disappointing that it results in a conventional clinch.
  16. There’s a haunting beauty to Tatiana Huezo’s depiction of the gradual cross-contamination of childhood innocence and criminal aggression.
  17. What’s absent here is the murderous lust for power that dovetails with Macbeth and Lady Macbeth’s lust for each other, and which proves their mutual undoing.
  18. The film’s initial aimlessness is pleasurable for the way that it allows the viewer to stare at life being processed on the stunned, confused, and ecstatic face of a teenager.
  19. Birds of Paradise lacks the nuance and finesse needed for its story to really take flight.
  20. The film achieves the nourishing simplicity of a fable, and its devotion to the quotidian elements of mythical small-town western life is nearly religious.
  21. The film looks at times like a stiff-jawed period piece, but it ripples underneath with a prickly modern sensibility.
  22. The juxtapositions between backroom politicking, intimate family drama, and the occasional lurches into action often give the impression of a TV season’s worth of content crammed into two hours.
  23. The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.
  24. The film works harder to fix the problems with its source material than to establish itself as an independent piece of art.
  25. In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul.
  26. More than effective in visualizing its protagonist’s disorientated state of mind, the camerawork may leave viewers feeling like they just stepped off of a merry-go-round.
  27. The film persuasively sheds light on the grievances of the Palestinian people that have long fallen on deaf ears.
  28. The film is an offbeat epic informed by a reverence for the past and a delicate wariness toward the future.
  29. Robert Greene’s gaze is an attempt to accord his subjects the dignity of attention, utilizing cinema as a form of emotional due process.
  30. One Second is as much a tribute to the struggles of a man whose life has stolen from him as it is to a bygone way of looking at movies.

Top Trailers