Slant Magazine's Scores

For 5,438 reviews, this publication has graded:
  • 34% higher than the average critic
  • 3% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Zama
Lowest review score: 0 The Eyes of My Mother
Score distribution:
5438 movie reviews
  1. There isn’t anything in the bleeding-heart positions espoused by Jorge Bergoglio that complicates Pope Francis’s public persona.
  2. It’s fascinating to see Benedetta Barzini in academic action, like an ethnographer of the patriarchy herself, bringing back news from its most glamourous yet rotten core.
  3. It’s the mix of the humane and the calculating that gives the film its empathetic power.
  4. As a suspense film, it’s so sluggishly structured that it borders on the avant-garde.
  5. The film is all surface, and its depiction of trauma becomes increasingly exploitative and hollow as it moves along.
  6. The film gets so lost in its affected idiosyncrasies that it stops probing any discernible human feelings.
  7. Strickland’s film is another fetish object that rues the perils of fetishism.
  8. Its performatively extreme imagery thinly masks a rather banal view of male subjectivity and inner conflict.
  9. The film’s tone is extremely eerie, with creeping camera movements, striking imagery, abrupt edits, and a delicately sinister score.
  10. Think Michael Mann’s Heat but in East Africa and with real-world stakes.
  11. Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
  12. The most thrilling and haunting details here are actively undermined by the chief technical gimmick of the film.
    • 91 Metascore
    • 63 Critic Score
    Individual scenes are set to the rhythm of the young women’s conversations, which at times approach Gilmore Girls-level warp speed.
  13. Its sensitivity to how something as seemingly ordinary as food can have an immense emotional impact is consistently and unobtrusively profound.
  14. For a spell, Melina Matsoukas’s film exudes the concision of an old B movie.
    • 85 Metascore
    • 88 Critic Score
    Throughout, the remaining participants take stock of private and career successes as well as perceived failures.
  15. It’s difficult to imagine a worse time to release Brian Kirk’s 21 Bridges than the present.
  16. Marielle Heller takes a script that many filmmakers would turn into cringe-inducing treacle and interrogates the sentimental trappings.
  17. Woke Disney, trying to navigate a tricky representational path, steps all over itself throughout.
  18. Kim Longinotto is so eager to celebrate her hero that she also glides past thornier portions of Letizia Battaglia’s life.
  19. An airport novel of a movie, Bill Condon’s The Good Liar is efficient and consumable, if a bit hollow.
    • 73 Metascore
    • 63 Critic Score
    Todd Haynes’s film intermittently hits upon a few original ways of representing its ripped-from-the-headlines mandate.
    • 74 Metascore
    • 88 Critic Score
    This kid flick is just plain smart, packed full of imagination and surprise.
    • 52 Metascore
    • 38 Critic Score
    All the feminist virtue-signaling in the world can’t conceal the film’s creative conservatism.
  20. The documentary represents a city ground down by inequality and division, where millions of selves who have by and large given up on one another.
  21. It focuses equally on moments of shared connection and incidental loss until the two feel indistinguishable.
  22. In the end, it can’t help but sentimentalize the better angels that supposedly reside in the land of liberty’s flawed human fabric.
  23. Clarke works hard to make the messy, perpetually flustered Kate relatable, but the film surrounds the character with a community as kitschy and false as the trinkets she sells in Santa’s shop.
  24. In the film, the Battle of Midway suggests something out of a photorealistic animated film.
  25. Sergio Pablos’s film is essentially a metaphor for its own unique and refreshing mode of expression.

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