Slant Magazine's Scores

For 4,861 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: 56
Highest review score: 100 The Lords of Salem
Lowest review score: 0 Jobs
Score distribution:
4861 movie reviews
  1. At its best, Stan & Ollie shows how the private and personal dimensions of art are achingly inseparable.
  2. When Ralph Breaks the Internet ignores the glittering marvels of the internet and focuses on the rapport between its two leads, it's deeply moving.
  3. By uniting these four interviews in particular, Claude Lanzmann emphasizes the impossibility of moral clarity in the unthinkable circumstances into which Germany’s invasion of Eastern Europe threw its Jewish population.
  4. Lukas Dhont isn't really concerned with Lara's journey to find peace and balance, as he's interested only in her downward spiral of crisis.
  5. The dichotomy represented by Jonathan and John is too clean for the film's exploration of a divided psyche to ever feel particularly complex.
  6. The film’s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.
  7. El Angel‘s greatest accomplishment is in the way it charges the relationships between characters with so much eroticism but never grants us the right to watch desire — other than desire for violence — actually unfold.
  8. The film quickly reveals that the only angle it’s interested in is the one that most sympathizes with Gary Hart.
  9. At times, Cameron Yates appears to be too protective of his subjects, which somewhat neuters the drama of the narrative.
  10. Outlaw King rattles along at a bracing pace, but the assured bloodshed of the final showdown looms large, casting a weary shadow over the film’s middle section.
  11. Fede Álvarez’s film suffers from a compulsion to be capital-C cool, and all of its ostensibly stylish shots are untethered to any semblance of a sustained reality.
  12. The title Weightless is an apt description for this stylish but emotionally inert film.
  13. The film's verité approach risks humanizing Abu Osama, but we eventually gain a complex understanding of the banality of his evil.
  14. Director and co-writer Hannah Fidell's film never finds the right mix of meaningful parable and sophomoric romp.
  15. A Private War ultimately sides with the late journalist’s assertion that the whos and whys of war matter far less in journalism than finding the right human-interest angle to hook an audience.
  16. The film exposes the idea of places as metaphors, mirrors, and symptoms for the people who inhabit them.
  17. Margarethe von Trotta's documentary reminds us of the reasons for Bergman's continued influence on cinema today.
  18. One may wish that the entire film had restaged the entirely of Tchaikovsky's ballet rather than reimagine it as an ultimately lifeless epic fantasy.
  19. This a much leaner film in terms of narrative incident than In the Family, though it paves the way for Patrick Wang to step into new artistic terrain.
  20. Morgan Neville understands Orson Welles's art to pivot on an ongoing quest to bring about self-destruction so as to contrive to transcend it.
  21. The Other Side of the Wind isn't a novelty item, but a work of anguished art that's worthy of its creator.
  22. Despite all its confoundments, 9 Fingers works as a unified whole thanks to F.J. Ossang's playful sense of humor.
  23. The anti-P.C. scorn that establishes a white boy's nervous entry into rap gradually becomes a sincere, if hilarious, treatise on the impossibility of reducing art to value judgments.
  24. The film is less hagiographic than most documentaries of its kind, which isn't to say that Tom Volf's adoration of his subject is ever in doubt.
  25. Good as Lucas Hedges is at acting the tortured teen, Jared is finally too much of a cipher for his story to really hit with the force that it should.
  26. Wang’s particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles, and here he manages to defend the importance of art, attack the neoliberal devastation of cultural liberalism, and argue for the renewed public commitment to the arts from a wryly comic perspective that eschews sentimentality.
  27. Patrick Wang's particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles.
  28. The film’s slow reveal of its fantastical elements, which evoke the erratic, dreamlike strangeness of folk tales, makes them all the more unsettling.
  29. The film is a second-rate airport thriller that makes The Hunt for Red October seem like nonfiction by comparison.
  30. According tot he film, truly courageous artists aren't necessarily the ones who tackle the state head-on, but rather the ones who stay true to themselves even when no one likes what they have to say.

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