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Slant Magazine's Scores

For 4,795 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 Yi Yi
Lowest review score: 0 The Darkest Hour
Score distribution:
4795 movie reviews
  1. 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.
  2. 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.
  3. Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor.
  4. It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.
  5. In Barbara, the process of filmmaking is shown to be a nesting series of shells that allow one to be simultaneously freed and lost.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies.
  13. The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
  14. Ying Liang’s film is righteously and vigorously angry about injustices committed by the Chinese government.
  15. 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.
  16. The film uncomfortably dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
  17. 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.
  18. Hold the Dark's ludicrous seriousness comes to feel like a mask for what's essentially a genre story of murder and mayhem.
  19. David Lowery has a carefree, bordering on insubstantial touch, which gives rise to several rank absurdities.
  20. 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.
  21. Somehow, Bi Gan’s film is self-aware and fluid as its own viewing experience, yet inextricable from its loud-and-clear influences.
  22. Like many films tackling socially inflammatory material, Monsters and Men is constrained by its politics.
  23. As the historical specificity embedded in the film’s more expansive opening act is abandoned, the more predictable, archetypal trappings of a revenge narrative begin to take hold.
  24. The film is at its most potent in the scenes where human frailty and the specter of injustice come more elliptically to the surface.
  25. This is both a fitting tribute to an artist who rebuffed conventional painting techniques, and a disappointingly self-indulgent exercise, the efforts of a filmmaker whose affinity for abstractions often interfere with the story he’s trying to tell, and distract from the purported subject of the film.
  26. Assassination Nation carelessly affirms the idea that all women should be able to fight back at will, and if they don’t, it’s on them.

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