Slant Magazine's Scores

For 4,571 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 8.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Picnic at Hanging Rock
Lowest review score: 0 Dark Crimes
Score distribution:
4571 movie reviews
  1. Christopher Plummer brings a twinkly eyed insouciance to his character, but there's only so many times Jack can make a joke about, say, his adult diapers before it becomes thin and hollow.
  2. Christian Papierniak manages to get a tricky tonal balance more or less right, capturing the false sense of superiority that Izzy projects over her environment without allowing the film itself to revel in said superiority.
  3. The King benefits from a quality that's usually a liability in nonfiction films: Its scattershot structure gets at the truth of pop culture as an ineffable chimera that defines much of the world.
  4. As the film proceeds, the appeal of its nostalgia wears thin and you may notice that there isn't much beyond the window dressing.
  5. Tag
    As dumb as Tag is on the surface, it offers amity, emotional support, awkward tears, the specter of death, and the spectacle of ass-punching slapstick all rolled up in one somehow cohesive collection of all-good spare parts.
  6. Everything in Incredibles 2 is inexorably driven toward a big final blowout. That sequence is suitably grand and eye-popping, but haven’t we seen all of this before?
  7. SuperFly is a slicked-up, tricked-out revamp that dispenses with any pretense of verisimilitude in favor of rap-video extravagance and mob-movie bloodshed.
  8. The film seems to think that the mere recognition of Gabriel as a narcissist sufficiently complicates the character's sense of entitlement.
  9. J.A. Bayona's gothic flourishes suggest opioid hallucinations, and they're a welcome escape from the doldrums of the writing, but they seem at odds with the rest of the film.
  10. You may want for something to hold on to, but Tye Sheridan and Alden Ehrenreich slip through the fingers, both seeming uninterested and restless to move on to other projects.
    • 60 Metascore
    • 50 Critic Score
    The film collapses on the crutch of hackneyed narration and constant music cues that formally undermine the ripe banter between Madelyn Deutch and her male co-stars.
  11. With Ocean's 8, Gary Ross serves up a mildly engaging riff on the heist film, but he rarely strays from the established formula of Steven Soderbergh's original Ocean's trilogy.
  12. Hotel Artemis quickly reveals its future setting as an empty pretext for a banally convoluted and sentimentalized show of emotional rehabilitation.
  13. A carefree life on the move is steadily and exquisitely overtaken by melancholy in writer-directors João Dumans and Affonso Uchoa’s Arábia, the portrait of a meandering journey fueled by song, anecdote, and landscape that zeroes in on the pressures of contemporary Brazil almost in passing.
    • 87 Metascore
    • 50 Critic Score
    In writer-director Ari Aster's smugly agitating feature debut, the devil is certainly in the hackneyed details.
    • 65 Metascore
    • 63 Critic Score
    Lorna Tucker's documentary sustains a tone that oscillates between earnest admiration and wry exasperation.
  14. On the Seventh Day brings a certain levity to wrenching matters of daily survival by thoroughly humanizing its characters, thus preventing them from feeling as if they're being written as stand-ins for thematic ideas.
  15. The documentary provides little sense of intimacy with its subject, but it gives an in-depth look at the master chef's uniquely obsessive work habits.
    • 65 Metascore
    • 38 Critic Score
    The steadiness with which Haley's film progresses through its dramatic beats is rather like its familiar-sounding indie pop, moving rhythmically toward a predictable climax whose emotional intensity feels unearned.
  16. It captures the strength of Fred Rogers's convictions even as his gentleness and sincerity fell further out of favor.
  17. There's vanity in its boutique art-film brand of hopelessness, which derives from a fetishizing of "keeping it real."
  18. 211
    The film relegates Nicolas Cage to a supporting player and crowds him with considerably less charismatic performers.
  19. Director Baltasar Kormákur's film is a simple, acutely observed love story that also happens to be a rousingly stripped-down tale of survival.
  20. This isn't a film about surfing so much as one about riding a wave that must eventually break and recede.
  21. As he showed in "The Imposter," writer-director Bart Layton knows how to spin a compelling yarn.
    • 60 Metascore
    • 50 Critic Score
    Though the film makes the important point that even the most liberal parents' acceptance of a child's difference may be repression by another name, it fails to excite sufficient sympathy for its broadly drawn principal characters.
  22. Jacques Doillon's shrewd ellipses emphasize time as a great and uniting humbler and thief, allowing stray moments to suddenly crystallize unexpressed yearnings.
  23. Upgrade is most effective when mining the comical and bizarre love-hate chemistry between Grey and Stem and pairing that singular conflict with batshit-crazy action, but the film’s follow-through is clunky and unfulfilling.
  24. It’s a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China.
  25. The film's screenplay is impressive for how crucial plot points emerge as backdrops to the explicit purpose of a scene.

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