Slant Magazine's Scores

For 4,889 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 In Jackson Heights
Lowest review score: 0 Death Wish
Score distribution:
4889 movie reviews
  1. Kaku Arakawa's documentary is a candid snapshot of a great artist as an old man.
  2. As effective as director Josie Rourke is at exposing the emotional and physical toll of reigning as queen when exploring Mary and Elizabeth's relationship, her portrait of an endless string of betrayals ends up as simply faceless and impersonal.
  3. As it proceeds through a series of teary reconciliations in the last half-hour of its 110-minute run time, the film's didactic drama begins to grate, its treacly emotions feeling increasingly unearned.
  4. Bridey Elliott avoids the smug pitfalls of narratives concerned with privileged people drinking themselves into a stupor.
  5. On the Basis of Sex is too often busy revering Ruth Bader Ginsburg for her confidence and brilliance to bother with presenting her as a living, breathing human being.
  6. Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.
  7. Director and co-writer Milad Alami's film feels like several fused-together trial drafts of the same narrative.
  8. As the film hurtles toward its tense climax, you may find yourself both deeply resenting its narrative contrivances and passionately rooting for its protagonists.
  9. Sebastián Silva never indulges platitude, and so the qualified hope of the film’s ending isn’t merely affirming but also miraculous.
  10. With its fine-tuned comic timing and feeling of constant action, Into the Spider-Verse is downright invigorating, and that’s evident even before it gets to its dazzling, dimensional-colliding climax.
    • 69 Metascore
    • 75 Critic Score
    Alexis Bloom’s keenly insightful and deeply depressing documentary is probably best viewed not as a record of the past but a document of what’s to come.
  11. Luke Fowler allows us to access some of the intimate details of Bartlett’s life in intriguingly indirect ways.
  12. While the film’s perception of the politics of the jungle is often profound, the same cannot be said of its take on the human world.
  13. The fabric of the fantasy world depicted in the film lacks the cohesion of its central theme about appreciating one’s place in a family tree.
  14. The film's biggest problem is its inability to lend its clichés and tropes any dramatic thrust or satirical bite.
  15. The film is determinedly unclassifiable, blurring genres with a fervor that grows tedious.
  16. Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
  17. It offers a profound glimpse of one of the greatest and most influential voices in modern music.
  18. Despite convincing performances, the film is hampered by its stylistic and moral conventionality.
  19. Creed II is absent of both the topically political atmosphere of Rocky IV and the bravura action of Ryan Coogler's Creed.
  20. The film Despite its weird flourishes, the film succumbs to the tropes and emotional contrivances of the family melodrama at its core.
    • 53 Metascore
    • 63 Critic Score
    The Crimes of Grindelwald gets more comedic and emotional mileage out of Newt’s interactions with his various creatures, particularly the adorable platypus-like one with a nose for gold, than most of its human-centered scenes.
  21. At its best, Stan & Ollie shows how the private and personal dimensions of art are achingly inseparable.
  22. 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.
  23. 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.
  24. 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.
  25. The dichotomy represented by Jonathan and John is too clean for the film's exploration of a divided psyche to ever feel particularly complex.
  26. 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.
  27. 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.
  28. The film quickly reveals that the only angle it’s interested in is the one that most sympathizes with Gary Hart.

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