Slant Magazine's Scores

For 4,667 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 Hard to Be a God
Lowest review score: 0 In Search of God
Score distribution:
4667 movie reviews
  1. The documentary's labored juxtapositions create fission, the feel of a director scrambling to dictate the game.
  2. When Mark Wahlberg's Silva isn't wielding run-on sentences as military-grade weapons, he barks out derivative commands and asinine statements that make him sound like a 13-year-old playing Call of Duty.
  3. It reduces the domestication of wolves to a series of simplistic interactions that don’t exactly convey the difficulties of a wild animal overcoming millennia of instinct.
  4. Zack and Keire's stunts are action scenes that are imbued with the gravity of the participants' youth, revelry, and need to prove themselves.
  5. The film is loaded with inconsequential detours and questionable and inconsistent character psychology as it stumbles awkwardly to its foregone conclusion.
  6. Alison McAlpine's documentary lacks urgency beyond its persistent pondering of the sky's eternal mysteries.
  7. Glenn Close's perennial look of astonishment and resilience commands the action to the point of turning every other screen element into a gratuitous prop.
  8. In We the Animals, director Jeremiah Zagar sustains a tone of wounded nostalgia, fashioning a formalism that appears to exist simultaneously in the past and present.
  9. The filmmakers’ ability to seamlessly explore rapidly shifting Chinese cultural norms within the context of the classic trope of a mother who’s hostile toward her son’s partner is the film’s most impressive feat.
    • 50 Metascore
    • 50 Critic Score
    It all feels cheap and looks cheap, a far cry from what S. Craig Zahler can do when overseeing both a film's words as well as its images.
    • 46 Metascore
    • 63 Critic Score
    Jaws works as both a horror film and a human drama. The Meg doesn't aspire to the earlier film's pathos (its flagrant callbacks to Jaws draw attention to how grotesquely adolescent it is by comparison), but that's because it's above all else a movie-star vehicle, and it succeeds on that front.
  10. Aside from the occasional idiosyncratic comic beat, Dog Days remains committed to coloring within the lines of established tropes in the animal-centric family film.
  11. A Prayer Before Dawn is concerned above all with ensuring that we share its main character's sense of dislocation and entrapment.
  12. Sebastian Gutierrez's film creates an incestuous atmosphere that's reminiscent of the stories of Edgar Allan Poe.
    • 76 Metascore
    • 63 Critic Score
    The film is empathetic toward and clear-eyed about its young characters, even if the drama it constructs around them tends toward the superficial.
    • 60 Metascore
    • 50 Critic Score
    Unlike the red balloon that Winnie the Pooh follows through much of the running time, Marc Forster's film lacks lightness.
  13. The Darkest Minds never communicates the overwhelming horror of a society whose children are either dead or in the process of being exterminated, or the hopelessness of kids discovering that every potential benefactor may have ulterior motives.
  14. The film's refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation.
  15. There's an appealingly shaggy buddy comedy hidden somewhere inside of The Spy Who Dumped Me, but good luck finding it amid all the desperate poop jokes, lifeless action sequences, and lazy plot mechanics.
  16. Rob Tregenza's film is rooted in the communion as well as the sensorial challenges of savoring art.
  17. As nimble as Aneesh Chaganty is in presenting his main character's multi-faceted interaction with technology in the first hour, the film suddenly morphs into a generic and manipulative missing-person thriller.
  18. Vahid Jalilvand's film is so worked out that you know that every nuance is pointed and intentional.
  19. Writer-director Augustine Frizzell's film is funny and surprisingly tender, if at times frustratingly uneven.
  20. The unflashy, austere visual style of the film is but a veneer over writer-director Susanna Nicchiarelli's deceptively radical treatment of the musical biopic.
  21. The film is a rebellion of surfaces that never quite reaches, or emanates from, the underpinning roots of its fable.
  22. The film poignantly reveals that the secret history of Hollywood is really an alternate history of America.
  23. In one fashion, Robert Schwentke proves to be too complicit with his protagonist, regarding evil and human banality as stimulation.
  24. Peter Rida Michail and Aaron Horvath's Teen Titans Go! To the Movies is a spastic, Mad magazine-style parody of comic-book movies for the age of superhero overload.
  25. Like the teenagers at its center, Hot Summer Nights tries too hard to look cooler than it ever could be.
  26. The very act of having kids and demanding perfect conformity from them is never questioned by the film.

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