Slant Magazine's Scores

For 4,626 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 8.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Deliverance
Lowest review score: 0 Cannibal Holocaust
Score distribution:
4626 movie reviews
  1. Like the teenagers at its center, Hot Summer Nights tries too hard to look cooler than it ever could be.
  2. The very act of having kids and demanding perfect conformity from them is never questioned by the film.
    • 49 Metascore
    • 50 Critic Score
    Order and righteousness being the product of one great man, The Equalizer 2 is symptomatic of a confused time when people are collectively looking for invulnerable superheroes who don't so much as speak truth to injustice as beat the hell out of it, and its cathartic pleasures leave a bad taste.
  3. Despite the film's bleak premise, writer-director Radu Jude finds dark humor within the certainty of death.
    • 53 Metascore
    • 63 Critic Score
    Into a broad-strokes picture of a culture in crisis, Lauren Greenfield attempts to incorporate autobiographical elements, which results in some awkward narrative pivots and jarringly clunky voiceover.
  4. It boasts such confident performances and choreography that it feels as much like a final draft of the 2008 film as a continuation of it.
  5. In The Third Murder, as in his other films, Hirokazu Kore-eda informs tragedy with a distinctive kind of qualified humor that's realistic of how people process atrocity.
  6. The film takes aim at myriad targets and bluntly satirizing them in disparate styles that never mesh into a cohesive whole.
  7. The film trots out thinly conceived villains and a murky plot twists that leave crucial details needlessly shrouded in mystery.
  8. The film is preposterously conceived, but writer-director Stephen Susco so tightly, excitingly executes it that you hardly notice.
    • 91 Metascore
    • 88 Critic Score
    Throughout, we're invited to chuckle at the ironies of Kayla's hobbies and activities, but underlying such scenes is a strain of eeriness, as if the film were offering up a post-human spin on Pretty in Pink.
    • 86 Metascore
    • 50 Critic Score
    As in Rogue Nation, Fallout‘s action scenes are cleanly composed and easy to follow, and so abundant as to become monotonous.
  9. Jake Meginsky's documentary is insular, precious, and too pleased with its unwillingness to reach out to the unconverted.
  10. Dwayne "The Rock" Johnson is the true Tower of Babel, the movie star who with each film gets closer to God and whose films always come tumbling down around him.
  11. The film buoyed by Kelly Macdonald, who's a master of understated vulnerability, but she can't steer it out of the doldrums.
  12. As Ian Bonhôte's documentary reveals, Alexander McQueen's suicide was perhaps the all-too-predictable ending to a history of violence.
  13. Dominique Rocher reinvigorates the zombie film only to succumb to the strictures of the coming-of-age romance.
  14. There are only so many monster-centric jokes to be made before they become toothless, and only so many ways to preach tolerance before it sounds more like blunt moralizing.
    • 54 Metascore
    • 38 Critic Score
    Gauguin represents for the film no less an ideal Romantic subject than the Polynesians represented for the painter himself: penniless, chronically ill, and living in self-imposed isolation—the very embodiment of the suffering artist.
  15. Rob Reiner's film rests on broad, sweeping proclamations about the importance of factual reporting.
  16. The film in effect positions young jihadis less as fervid, bloodthirsty psychopaths and more as dumb kids at summer camp.
  17. The film has the tone and look of a direct-to-video feature, and some shots of Keanu Reeves are so waxen that the actor almost looks rotoscoped.
  18. The film flirts with miserablism, but it counterbalances the direness of its main character's situation with moments of levity.
  19. Kimberly Reed's approach is too bloodless to make us feel the full weight of the injustices her film identifies.
  20. The pleasure of Denis Côté's film radiates not so much from its storytelling as it does from the meditative force of its formal construction. Read our review.
  21. For most of Kevin Macdonald's film, Whitney Houston seems a guttering flame in a public crosswind, with only fleeting celebration given to the wildfire of her success.
  22. In Leave No Trace, director Debra Granik continues to refine a style of tranquil intensity. The film's images have a rapt and pared-down power, with emphases that are never quite where you expect them to be.
  23. Especially early on, Gerard McMurray often rejects the exhibitionist slaughter that James DeMonaco established as the Purge series’s modus operandi in favor of violence that’s rawer and realer.
  24. It adheres too rigidly to news-cycle replications of barbaric governmental acts, and without putting them into greater perspective.
  25. Under the Tree boasts the lurid determinism of many acclaimed European films that spit-shine genre-film tropes with chilly compositions and fashionable hopelessness.

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