Slashfilm's Scores

  • Movies
For 505 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 4.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 The Wizard of Oz
Lowest review score: 10 Blumhouse's Fantasy Island
Score distribution:
  1. Negative: 24 out of 505
505 movie reviews
  1. As hard as the cast and Taika Waititi try, though, it just doesn't work. "Thor: Ragnarok" felt effortless. "Thor: Love and Thunder" is working very hard, and not getting a lot to show for it.
  2. It's romantic escapism at its finest, a brief diversion from our grim reality that is just novel enough to make it worth our time.
    • 34 Metascore
    • 30 Critic Score
    The Man From Toronto struggles throughout the entire film to establish a consistent tone.
  3. Vengeance manages to balance its self-effacing and sentimental tones in a way that is extremely satisfying and entertaining to watch.
    • 68 Metascore
    • 80 Critic Score
    It's been 26 years, but Judge hasn't missed a beat. The movie pokes fun at the ridiculousness of our modern world without ever making overt political statements or heavily referencing pop culture, making it a refreshing little escape from our own real-world stupidity.
    • 81 Metascore
    • 65 Critic Score
    Flux Gourmet is an enjoyable romp that pushes buttons, defies conventions, and makes you see food in a whole new light. I'd like to think that was exactly Strickland's goal, no matter the film's ultimate genre.
  4. This is a glorified OVA (Original Video Animation) with an accelerated recap of the show and a few cute Kyo-Tohru scenes stuck on to justify the feature film designation — but the thing is, they only serve to make the whole thing weaker. Because buried in between that messy recap and nostalgia-baiting prologue scene is an imperfect adaptation of one of the best things Natsuki Takaya has written.
  5. Next Exit is a moody and haunting character exercise, centering around the terrific central performances by Katie Parker and Rahul Kohli, but a little underbaked otherwise.
  6. Laugh out loud funny, strangely charming, and a truly unique endeavor, "Nude Tuesday" is exactly the kind of movie you love to discover on the film festival circuit, and it deserves to find an audience on the big screen, even if it's just for the indie crowd.
  7. It's really a movie about a couple reconnecting with each other and with their kids through the power of the lottery. It's very silly, yes, but the movie at least seems to sincerely believe in this.
  8. The result is a movie that's as fun as it has things to say, a true animated blockbuster that could play like gangbusters in multiplexes (if there is any indication from the world premiere at the Annecy International Animation Film Festival, where the crowd went wild towards the climax of the film), and lingers on your mind long after the credits roll.
  9. Don't Make Me Go is at its strongest when Cho and Isaac are onscreen together, reflecting back the kind of tense, but loving, father-daughter dynamic which is so lovingly familiar and relatable to many of us.
  10. Minions: The Rise of Gru will not usher in a new era of animation, nor change the way we treat prequels. What it will do is entertain kids with more Minions shenanigans, a fair number of fart jokes, and references to other characters in the franchise.
  11. Lightyear may not reach the heights of the great sci-fi movies that it pays tribute to, or even the "Toy Story" movies themselves. But it's a visually impressive, escapist riff on the sci-fi epic that, at the very least, might become the favorite movie of some kid, somewhere.
    • 54 Metascore
    • 75 Critic Score
    Spiderhead is a movie that defies conventional genre labels, and while Kosinski isn't always successful in balancing the various elements, I have to admit: this is one hell of a ride.
  12. Cruz is the film's MVP as Lola, kookier than she's ever been, and playing well into the character's question mark of a persona — is she a true auteur or a hack? You never really find out, but watching Lola become increasingly disillusioned with the whole project makes her the closest we get to a relatable character in this whole heightened satire.
    • 83 Metascore
    • 70 Critic Score
    The documentary makes an effort to drive home just how much harm illegal abortions cause — but in terms of the presentation, more could have been done to highlight the horrific and tragic nature of the real history.
  13. The new trilogy ends frail whimper rather than a T-rex-worthy roar.
  14. Hustle manages to get by on charm and style, and Sandler gets to remind us again that he has range. "Hustle" isn't a slam-dunk, but it still takes it to the hoop.
  15. Fire Island is every bit the hilarious and semi-meta rom-com you expect, packed with quips and well-timed jokes, but also makes ample time to continue the pursuits of Austen's story, exploring the emotional nuances of overcoming judgment for love.
    • 81 Metascore
    • 100 Critic Score
    Benediction" is true to its title, offering up a blessing — not to the Church, rather, but to those whose lives were never able to be lived to the fullest. The film is more than a beautifully performed, masterfully directed piece of entertainment. It transcends, offering hope to any person yearning for more. It is in equal turns lively, devastating, funny, hopeful, and heartbreaking.
  16. Close is a story about growing up and losing those wondrous childhood relationships forever, but it's far more than that. It's a tender glimpse of loss on an unimaginable scale, told through the lens of a young boy trying to make sense of it all.
  17. One thing's for certain — R.M.N. is by no means a pedestrian affair, with Mungiu's mastery of the Transylvanian landscapes the perfect backdrop for the exploration of some heavy issues. There's a lot to unpack by the time the credits roll. But it's deserving of every stray thought you'll return to in the days after watching it.
  18. Broker is another showcase of empathy from Kore-eda, a movie about found families and finding a home with each other, about the small acts of kindness that can truly mean the world to someone. Though its tone doesn't always work and its runtime is excessive, it is an emotionally devastating and life-reaffirming movie that is hard not to sympathize with.
  19. Crimes of the Future is Cronenberg in his comfort zone, which is a zone choked with things both repulsive and fascinating. It's not quite as nasty as its pre-release reputation suggests, nor is it even the most graphic film Cronenberg has directed. But it's rife with the filmmaker's signatures and quirks; his fetishes and his dreams; his obsessions and his amusements.
  20. This is a brutally honest look at a community seldom portrayed on screen with care or honesty, with a simple story that may not pack much in terms of plot, but packs a whole lot of authenticity and empathy, with a stellar cast of mostly first-time actors.
    • 67 Metascore
    • 85 Critic Score
    You simply don't know how you're going to handle a situation until you are in it; until you've dug yourself a grave you can't get out of. In God's Creatures, this inquiry, and the way it forces the audience to look at themselves as harshly as its characters, is not only the film's sturdy foundation but its greatest emotional asset.
  21. Lee does a commendable job as a first-time feature director, with a confinement sense of pace and framing that keeps "Hunt" thrilling and engaging despite its 131-minute runtime. ... Though "Hunt" does not break the spy thriller mold, it does provide plenty of thrills that should play like gangbusters.
  22. The end result is a slow-burn romantic thriller that's so slow it doesn't really seem to go anywhere.
  23. Elvis is the Baz Luhrmanniest film Baz Luhrmann has made yet, a compilation of his greatest filmmaking hits, all employed for a film as excessive and grandiose as Elvis himself. Though the framing device doesn't always work, Austin Butler's stunning performance, lavish production design, and comic book-like editing make for a movie not unlike one of Elvis' own — full of personality, kind of empty, but undeniably enjoyable.

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