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Slant Magazine's Scores

For 4,813 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 Deep Red
Lowest review score: 0 Golf in the Kingdom
Score distribution:
4813 movie reviews
  1. What They Had gracefully coasts on its patient observations of one family’s dynamics, but once the third act hits, Elizabeth Chomko goes about neatly tidying up seemingly every loose end.
  2. Christian Petzold’s lean, rigorous filmmaking proves essential as the story begins to run, deliberately, in circles.
  3. Luca Guadagnino's Suspiria is a funereal pseudo-realist drama about political upheaval and the violence of systems that's at odds with itself.
  4. Sandi Tan's view of what the original Shirkers represented, and what her new film should be, proves surprisingly expansive.
  5. Antonio Méndez Esparza crafts a revealing portrait of life as lived under a regime of race and class oppression.
  6. Adrian is too flat as a character, his plight too generic, for his tears to count as something other than a sentimental ready-made.
  7. The film understands that money is a defining element of art-making, whether or not we wish to admit it.
  8. Relying on such arcane gags as prat falls in knight’s armor, fake French accents, and an array of gadget-based explosions, Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
  9. Despite Beckermann’s contemplative, even-tempered tone, The Waldheim Waltz gradually builds outrage at the subterranean persistence of fascism in postwar politics.
  10. Throughout Caniba, there’s a singularly disquieting relationship between the filmmakers’ formal experimentation and their subject.
  11. The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
  12. The Guilty is a taut chamber thriller dominated by the flinty yet highly emotive visage of actor Jakob Cedergren.
  13. 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.
  14. 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.
  15. 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.
  16. Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor.
  17. It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.
  18. In Barbara, the process of filmmaking is shown to be a nesting series of shells that allow one to be simultaneously freed and lost.
  19. 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.
  20. 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.
  21. The bulk of MFKZ is composed of chases and shoot-outs that, despite their chaotic energy, drive the plot forward at a plodding pace.
  22. 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.
  23. 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.
  24. The final act's full-tilt embrace of action effectively undermines Tom Hardy's flashes of actorly idiosyncrasy.
  25. Its story distances heavy metal from any whiff of toxic masculinity by setting Turo and company against homophobes and rakes.
  26. 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.
  27. The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies.
  28. The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
  29. Ying Liang’s film is righteously and vigorously angry about injustices committed by the Chinese government.

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