Slant Magazine's Scores

For 5,072 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 7.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Only Angels Have Wings
Lowest review score: 0 Third Person
Score distribution:
5072 movie reviews
  1. With The Curse of La Llorona, the Conjuring universe has damned itself to an eternal cycle of rinse and repeat.
  2. The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman; surely it’s no coincidence that a James Joyce poster hangs in the background of one scene.
  3. While the film offers an appealingly nostalgic trance-out, it’s often short on detail, especially in terms of Stephen Herchen’s struggle to create the instant film technology, which director Willem Baptist reduces to exchanges of jargon in atmospheric laboratories.
  4. The film's slotting of two African women into a familiar romantic structure represents a radical and important upending of contemporary Kenyan sexual mores.
  5. Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism.
  6. Nia DaCosta indulges one of rural quasi-thriller’s most tiresome gambits: humorlessness as a mark of high seriousness.
  7. The documentary shrewdly illustrates how media savvy can turn a fledgling protest into an international cause célèbre.
  8. Its most amusing moments are in the interplay between the central characters as they adjust to an abruptly shifting reality.
  9. As the plot mechanically moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life feels completely beside the point.
  10. Forget Dog Day Afternoon, as the film doesn’t even clear the bar set by F. Gary Gray’s tense and exciting The Negotiator.
  11. The film’s playful tone is a corrective to a century of scholarship that insisted on projecting the image of a moody spinster onto Emily Dickinson.
  12. With its naked celebration of self-sacrificial combat and idealization of the soldier as an avenging angel, it strikes a tone redolent of old-school war propaganda.
  13. As in Laika’s other efforts, the humor in the film is more wry than gut-busting, but Chris Butler has developed some truly inventive comic characters.
  14. In the end, the film is all too ready to transform into just another shiny pop object indistinguishable from so many others before it.
  15. The film is a reminder of the potential of these films before they became weighed down by blockbuster-ready excesses.
  16. The film only succeeds at evoking a firm sense of place and an accompanying air of alluring grotesquerie.
  17. The film is a tale about how those who spiral so far out of control become blind, if not immune, to the severity of their symptoms.
  18. The story has enough pathos to fulfill the expectations of a great tragedy, but the film feels like a commercial for something else entirely.
  19. The Best of Enemies may be based on a true story, but in so stubbornly turning the spotlight away from Atwater and the radical, grind-it-out community activism that took on the racism that Ellis helped to foster as a segregationist, it more accurately resembles an all-too-familiar Hollywood tall tale.
  20. Shazam! sees DC combining the golden-age optimism espoused by Wonder Woman and the jubilant, self-aware silliness of Aquaman into a satisfying whole.
  21. The film’s refusal to commit to its passing fancies is a highly intentional and eventually tiresome declaration of Qui Sheng’s arthouse bona fides.
  22. So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.
  23. The film is a clunky, overwritten attempt to pack as many tortured subplots and pre-chewed sociological insights as can possibly fit into a two-hour runtime.
  24. Brie Larson’s directorial debut is nothing so much as a series of quirks.
  25. In a film that features Charles Manson and his disciples, there’s something unsavory about presenting Sharon Tate as one of the crazy ones.
  26. As the world continues to suffer ever-increasing mass die-offs of honeybee colonies, Ljubomir Stefanov and Tamara Kotevska’s film reminds us that there’s indeed a better way to interact with our planet—one rooted in patience, tradition, and a true respect for our surroundings.
  27. This is a rigorous film concerned with questions of cultural appropriation, learned behavior, and the very texture of life in our content-saturated present (a feeling not exclusive to urban centers), but one with the good humor and wisdom to disguise itself as something far more familiar.
  28. Lila Avilés’s film reserves the possibility of flirtations with disaster to turn into acts of emancipation.
  29. With the film, Harmony Korine solidifies his position as the premier cartographer of the Sunshine State as a place of unhurried pursuits.
  30. Tim Burton manages to put his stamp on this clunky behemoth of a film, but in the end, the Mouse always wins.

Top Trailers