Slant Magazine's Scores

For 5,135 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 7.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Story of My Death
Lowest review score: 0 Silver Tongues
Score distribution:
5135 movie reviews
  1. The only thing that keeps Parasite just slightly below the tier of Bong’s best work, namely The Host and his underrated and similarly themed 2000 debut film, Barking Dogs Never Bite, is the overstuffed pile-up of incident that occurs toward the end.
  2. The film is Quentin Tarantino’s magnum opus—a sweeping statement on an entire generation of American popular culture and an almost expressionistic rendering of the counterculture forming at its margins, gradually growing in influence.
  3. It's an R-rated teen comedy that proves that you can center girls’ experiences without sacrificing grossness, and that you can be gross without being too mean.
  4. Throughout, the era-defining yet problem-plagued music festival astounds in large part for all the disasters that didn’t occur.
  5. Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.
  6. Guy Ritchie’s live-action remake is content to trace the original’s narrative beats with perfunctory indifference.
  7. The way the film shuttles through its 90 minutes, it’s as if it’s been stripped of its most crucial narrative parts.
  8. Robert Eggers loosens the noose of veracity that choked his meticulously researched but painfully self-serious debut just enough to allow for so much absurdism to peek through.
  9. Terrence Malick’s film means to seek out souls caught in the tide of history, but which move against its current.
  10. As a musical, Dexter Fletcher’s film is just fun enough to (mostly) distract us from its superficiality.
  11. Pedro Almodóvar’s latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.
  12. Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.
  13. Bertrand Bonello’s quixotic, slow-burn genre film is political largely in the abstract.
  14. The film is at its strongest when depicting how Diamantino becomes a tool of politicians hoping to oust Portugal from the EU.
  15. The film is content to peddle the naïve notion that love is the panacea for all that ails you.
  16. In Jim Jarmusch’s film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.
  17. The action choreography is as brutal as you expect, though the repetition in style from the first two films makes the effect less surprising.
  18. Eddie Alcazar’s film is a purposefully inscrutable, wandering, disconnected, symbolic, and highly precious mood bath.
  19. In pushing so many seemingly crucial moments off screen, the film transforms its main characters into blank slates.
  20. The film goes down easy because it saves the self-improvement clichés for the homestretch.
  21. The filmmakers are interested in world building only as a pretext for maintaining a tone of non-contemplative ennui.
  22. Like other gender-swapped films in recent years, The Hustle plays the identity politics game as an end in itself.
  23. The film appears to be striving for humanistic understanding, but the end result is far too jumbled to have the proper impact.
  24. Almudena Carracedo and Robert Bahar’s documentary is monumental for its clamorous sounding of an alarm.
  25. At the very least, Ryan Reynolds’s casting perfectly splits the difference between the adorable and the absurd.
  26. The film seeks to elevate genre clichés by slowing down the speed with which they’re typically offered.
  27. The film’s relatively static approach to narrative works in scenes where the material is funny or elevated by a certain performance.
  28. The film is often quite moving in spite of its evasions, suggesting a real-life Charlotte’s Web, but one wonders what an artist with a bit more distance might’ve made of such rich material.
  29. It’s an unfussy, intimate chamber drama that’s fearless in confronting the attitudes of its exalted subject.
  30. Miles Joris-Peyrafitte’s ultimately succumbs to melodramatic clichés and simplistic political demagoguery.

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