Slant Magazine's Scores

For 4,804 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 8.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Madam Phung's Last Journey
Lowest review score: 0 Movie 43
Score distribution:
4804 movie reviews
  1. Throughout Caniba, there’s a singularly disquieting relationship between the filmmakers’ formal experimentation and their subject.
  2. The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
  3. The Guilty is a taut chamber thriller dominated by the flinty yet highly emotive visage of actor Jakob Cedergren.
  4. The film is most interested in homing in on the ways Nadia Murad's fragility and self-doubt arise as collateral damage from her fame and steadfast activism.
  5. The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
    • 66 Metascore
    • 75 Critic Score
    Elan and Jonathan Bogarín's film blends various tones and visual styles with confidence and infectious exuberance.
  6. The absence here of a joke is meant to be hilarious, or to at least congratulate the audience for willfully submitting to a denial of pleasure. Every element of the film is studiously, painstakingly random.
  7. Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor.
  8. It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.
  9. In Barbara, the process of filmmaking is shown to be a nesting series of shells that allow one to be simultaneously freed and lost.
  10. Sadie remains a clear-eyed portrait of maternal love, teenage turmoil, and the singular type of tight-knit bonds formed, out of necessity in many cases, in low-income communities.
  11. In their best films, the Coens mine the depths of loneliness and egotism and frailty and solipsism. But in THE BALLAD OF BUSTER SCRUGGS there's a noticeable lack of deeper insinuation, a lack of curiosity.
    • 49 Metascore
    • 50 Critic Score
    The bulk of MFKZ is composed of chases and shoot-outs that, despite their chaotic energy, drive the plot forward at a plodding pace.
  12. Even while it asks us to recognize ourselves in a world not too distant from our own, The Oath seems to say that the worst part of a full-fledged American dystopia would be the ruined holiday dinners.
  13. That a drop from John Williams’s Jaws score wouldn’t be out of place on this film’s soundtrack goes to show how tactlessly Paul Greengrass milks tragedy for titillation.
  14. The final act's full-tilt embrace of action effectively undermines Tom Hardy's flashes of actorly idiosyncrasy.
    • 72 Metascore
    • 50 Critic Score
    Its story distances heavy metal from any whiff of toxic masculinity by setting Turo and company against homophobes and rakes.
  15. For every haunting sequence in The Happy Prince, there’s five that redundantly wallow in Oscar Wilde’s misery, which is Rupert Everett’s point, but it becomes wearisome.
  16. The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies.
  17. The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
  18. Ying Liang’s film is righteously and vigorously angry about injustices committed by the Chinese government.
  19. The film lays out the complexities of contemporary race relations with a deliberateness that frequently edges over into didacticism.
    • 91 Metascore
    • 88 Critic Score
    The film is composed of minutely observed moments that Marta Prus has assembled into an affecting narrative.
  20. The film uncomfortably dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
  21. Instead of offering a probing, nuanced view of the burgeoning technologies and sciences involved in this relatively new outgrowth of the OBGYN industry, though, Tamara Jenkins uses her setting as fodder for lame and discomfiting physical comedy.
  22. Hold the Dark's ludicrous seriousness comes to feel like a mask for what's essentially a genre story of murder and mayhem.
  23. David Lowery has a carefree, bordering on insubstantial touch, which gives rise to several rank absurdities.
  24. A story of filth and fury and, eventually, of placidity and peace, Her Smell is Alex Ross Perry’s most chaotic and unmuffled film — until it isn’t.
  25. Somehow, Bi Gan’s film is self-aware and fluid as its own viewing experience, yet inextricable from its loud-and-clear influences.
  26. Like many films tackling socially inflammatory material, Monsters and Men is constrained by its politics.

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