Slant Magazine's Scores

Select another publication »
For 7,772 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Positive: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
view
per page
  1. Malcolm & Marie
    Expending so much energy anticipating our avenues of interpretation, Malcolm & Marie leaves us with little to interpret.
  2. Billy Lynn's Long Halftime Walk
    It does astounding work animating the mind of its young soldier, but it runs into technical difficulties whenever it tries to grasp the bigger picture.
  3. The Awakening
    The film takes pains to ensure that the story feel like laborious toil rather than a trip through the dark side of the ethereal.
    • 53 Metascore
    • 38 Critic Score
    Approaching the Unknown
    The film fails to lay down the character foundation that might have elevated the third-act histrionics.
  5. Luther: The Fallen Sun
    The film defaults to the most pedestrian narrative turns imaginable when it’s not just recycling bits from the series.
  6. Final Score
    To observe that the Dave Bautista-starring action flick Final Score is yet another Die Hard knockoff may be tiresome, but it's not as if the film gives one much of a choice, as it offers up a ceaseless barrage of scenes lifted from the John McTiernan classic.
  7. The Hollars
    The film's ruefully honest tone is periodically drowned out by the blare of stagey coincidences.
  8. I.S.S.
    The film is in such a rush to get to the bloodshed, deception, and panic that most of the fertile ground of its premise goes unexplored.
  9. Red Sparrow
    The way that Dominika is at once completely transparent and at the same time impossible to read is Red Sparrow's most intriguing through line, not least of which for the way that Jennifer Lawrence makes you grasp the canny mental gymnastics that her character has to do in order for everything that she says to be at once truth and obfuscation.
  10. Carrie
    In focusing on predominately kid-gloves portrayals of her teen players, Kimberly Peirce never properly addresses the machinery behind their doom, which is why the film is relentlessly lifeless when it's not literally ripping off De Palma shot-for-shot.
  11. The Artist and the Model
    This safe, solemn tale of an aged artist whose vitality is briefly revived by a pretty young thing is unconvincing as an articulation of the potentially spiritual nature of the artist/model relationship.
  12. Fly Me to the Moon
    Fly Me to the Moon’s sudden shift toward the weighty throws off the pace of what had been a formulaic but charming rom-com, as the heavy-handed look at both Cole’s and Kelly’s past demons fails to mesh cohesively with the antic silliness that preceded it.
  13. In Time
    Justin Timberlake can't elevate what amounts to relatively simplistic, formulaic material, but his headlining turn exhibits sufficient charisma and wit to make In Time a passably diverting action-packed waste of time.
  14. Our Brand Is Crisis
    It only serves to validate George Clooney's devotion to showmanship as Hollywood's current reigning poster boy for blue-state morality.
    • 52 Metascore
    • 38 Critic Score
    Snowman's Land
    A tonal hodgepodge ever at odds with itself, Tomasz Thomson's unctuous, tongue-in-cheek debut is far too self-satisfied with its jokes for any to really be funny.
  16. In the Name Of
    This Polish "gay priest tempted" drama is almost as confused about the moral quandaries of its characters as they are.
  17. 5 to 7
    Ironically, the Victor Levin film's mildness turns out to be its most engaging quality.
  18. Dirty Mary Crazy Larry
    Dirty Mary Crazy Larry is the rare exploitation film whose few redeeming qualities make up for its numerous shortcomings.
  19. Submission
    This tentative questioning of the sometimes unscrupulous methods and deleterious consequences of political correctness is further undermined by Ted's insipid character and general indifference to his fate.
  20. White House Down
    Roland Emmerich makes love of country into a thing of unabashed hokum, which bleeds through every nook of this overstuffed jumble and leaves no character untouched.
  21. Man of Tai Chi
    The film ultimately doesn't live up to this early potential, as Keanu Reeves loses his way in the third act with too many false climaxes.
  22. Stonehearst Asylum
    In the wake of the ostentatious atmospherics summoned by the likes of Shutter Island and American Horror Story: Asylum, the film feels unnecessarily restrained.
  23. Puppet Master: The Littlest Reich
    It all feels cheap and looks cheap, a far cry from what S. Craig Zahler can do when overseeing both a film's words as well as its images.
  24. Front Cover
    The very few instances where stereotypes are challenged are forced and didactically delivered.
  25. LUV
    As a film that largely works as a subdued twist on the familiar drama about crime and family, LUV needed more intimacy and focus.
  26. My Old Lady
    Israel Horovitz's film is basically a three-character play without a single character you can believe in.
  27. Extremely Wicked, Shockingly Evil and Vile
    The film essentially indulges in the same act of willful distractedness as Ted Bundy’s admirers.
  28. Sexy Baby
    What the documentary lacks in the way of sophisticated filmmaking it compensates for with an earnest insistence on open dialogue.
  29. The 4:30 Movie
    Jam-packed with his familiar brand of vulgar yet verbose stoner humor and free-flowing riffs on movies—especially his own—the vibes are certainly off the charts in Kevin Smith’s film.
    • 52 Metascore
    • 50 Critic Score
    Parthenope
    The film’s succession of symbolically loaded vignettes is less meaningful than intended.
  31. The Good Doctor
    The Good Doctor isn't a ponderous bore because Blake isn't a strictly good or bad character: It sucks because he isn't even a compelling character.
  32. The Sons of Tennessee Williams
    This time-tested project of tracing gayness back to when its shame was so explicitly enforced feels not only passé, and naïve, but mostly unproductive in a post-Judith Butler world in which drag queens are on TV teaching biological women how to better perform womanhood.
  33. Vulgaria
    Pang Ho-cheung can't help but humanize Vulgaria's characters, which is a kiss of death for what's meant to be a farce of escalating obscenity.
  34. Mr. Right
    It has a bouncy sense of lunacy, wearing its derivative junkiness on its sleeve with surprising lightness of authority.
  35. Le Mans
    Le Mans needs to be rediscovered so that it can be hopefully embraced as one of star Steve McQueen’s finest hours.
  36. Paradise
    Andrei Konchalovsky's film is more than an exercise, as pitiless moments accumulate with enraged relentlessness.
  37. Love Me
    The further Love Me develops its scenario, the less plausible it becomes, even by lovelorn sci-fi standards.
  38. Blackhat
    Michael Mann's camera elegantly collapses the spaces between bodies and objects without sacrificing spatial coherence.
  39. Comet
    Its time-jumping strategy cleverly illuminates the way in which we go over and fixate on isolated incidents in our minds of breakups past.
  40. Yardie
    The film’s tendency to break the “show, don’t tell” directive becomes especially irksome in its homestretch.
    • 52 Metascore
    • 38 Critic Score
    The Amazing Johnathan Documentary
    Over and over, the film reminds us that banking on a gimmick isn’t an adequate substitute for an incisive character portrait.
  42. Remember
    Atom Egoyan is only interested in using the Holocaust as fodder for carrot-dangling plot contrivances.
  43. Gone in the Night
    The film’s ominous atmosphere derives less from the mystery of a disappearance and more from the scary business of getting older.
  44. Little Boxes
    The film's default mode is to lazily skewer suburbanites as cartoonishly privileged yuppies.
  45. Coming 2 America
    Even by the woeful standards of decades-too-late comedy sequels, Coming 2 America is desperate, belabored, and thin.
  46. Moby Doc
    The film’s tendency to over-explain, over-intellectualize, and over-script events leaves little room for spontaneity and doubt.
  47. Insidious: Chapter 3
    In lieu of advancing a view of the dead's dominion that doesn't abide by the law of "just becauses," Chapter 3 is often content to wink at the ways the first two films spooked audiences.
  48. Citizen Koch
    Like their earlier Trouble the Water, Carl Deal and Tia Lessin portray men and women yearning for a simple place in society as they become casualties to the self-involvement of larger forces.
  49. Cuban Fury
    The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.
  50. Mad As Hell
    The doc is too enamored with Cenk Uygur and his convictions that it hews more closely to being a conventional and one-sided biographical portrait.
  51. Sunset Edge
    Writer-director Daniel Peddle's anthropological concerns never really wed themselves to a sturdy narrative bedrock.
  52. Another End
    Despite its initially familiar trajectory, Another End disarmingly and purposefully sweeps us away on a wave of apathy not unlike that which plagues its main character, challenging our sense of who we fundamentally are as humans.
  53. Pusher (2012)
    Do we really need another cautionary tale about an ambitious drug dealer dramatically falling from grace?
  54. Kandahar
    Where Kandahar is most intriguing is in the oddly even-handed depiction of both American and Middle-Eastern characters as largely exasperated professionals going about their grisly work because they’re too old to pivot to a different job.
  55. Boulevard
    Not merely rote, Boulevard is contemptible for a belief in its own stature as a daring attempt to parse through the minutia of its core relationship, where Nolan's uncertain sexuality would be terms enough to laud the film's provocative insights.
  56. Deadfall
    None of Eric Bana's mildly rousing moments clearly rise above the laborious gobbledygook that Ruzowitzky builds up through the course of the film's 94-minute duration.
  57. Bare
    Dianna Agron, suddenly inspired to let go, proves the perfect on-the-prowl foil to Paz de la Huerta's free spirit.
  58. Trap
    M. Night Shyamalan’s stylish thriller is schizophrenic in more ways than one.
  59. Death on the Nile
    Once things get moving, it’s smooth sailing to the double-shocker of a denouement.
  60. Journey to the Shore
    Kurosawa allows for a few brief flights of fancy, further abandoning realism for whimsical bursts of glowing color, but otherwise it's a humdrum slog of a voyage.
  61. Eternals
    At once bloated and rushed, Eternals suffers from frequent lurches in tempo that dispel its occasional moments of tranquil thoughtfulness.
  62. 47 Meters Down
    Like Lisa and Kate’s pendular swings between hope and despair, Johannes Roberts’s film can’t help alternating between the genuinely terrifying and the just plain dumb.
  63. The United States vs. Billie Holiday
    The film finds its purpose most pointedly when it zeroes in on the unambiguous relationship between Holiday and “Strange Fruit.”
    • 52 Metascore
    • 63 Critic Score
    The Weird World of Blowfly
    If The Weird World of Blowfly is any different from other documentaries about eccentric characters from music-world obscurity, it's in the contentious topics Clarence touches on in his cantankerous speech.
  65. Crimes of Passion
    Russell’s wild style and shameless exhibitionism places it on a par with the contemporary work of Brian De Palma in terms of its vicious satire of ‘80s kitsch and repression.
  66. Maggie
    Its only claim to uniqueness becomes running the standard zombie narrative through a Hallmark-card filter.
  67. VHYes
    The film settles much too comfortably into the well-trodden footsteps of other works.
    • 52 Metascore
    • 50 Critic Score
    The Woman on the 6th Floor
    It plays everything safe, keeping all its edges rounded and its lips sealed in territory ripe for sociopolitical commentary, making even The Help's glib depiction of African American servitude seem nearly honest.
  69. My Worst Nightmare
    The hilarity of the film creeps up slowly and from every angle, not through the facile immediacy of short-lived laughter.
  70. London Boulevard
    A movie like this lives and dies by its finer details, and London Boulevard screws up by applying the same broad brush to its entire cast, meaning every character gets the same amount of shading.
  71. Bobbi Jene
    Elvira Lind's film is closer to an advertisement for Bobbi Jene Smith than a film about the contemporary dancer.
  72. Murder on the Orient Express
    Once the film gets to the Orient Express, it's as if Kenneth Branagh is always itching to get off of it, even having Hercule Poirot at one point look over a list of names while standing atop the train for no discernible reason, except perhaps to enjoy the way the sun peeks out between two distant mountain peaks.
  73. Storage 24
    More chilling than the horror of the alien's close-quarters assault is the rank misogyny that more than offensively underscores the Melrose Place-grade human drama.
  74. Eleanor the Great
    Scarlett Johansson’s direction keeps things simple and intimate in a way that Tory Kamen’s overambitious screenplay doesn’t.
  75. Putin's Kiss
    Fails to dig too deep into the politics or inner workings of the new right-wing youth movement it profiles, remaining content with simplistic conclusions about pro-Putin thuggery.
  76. Da Sweet Blood of Jesus
    A dizzying hall-of-mirrors stunt, a horror remake as autobiographical X-ray, and a work of fantasy that serves as a decadently cleansing creative exorcism.
    • 52 Metascore
    • 75 Critic Score
    American Animal
    It may be baked with the same ingredients that come in your standard mumblecore starter kit, but because of Matt D'Elia's indebtedness to other movies, the film follows a different recipe altogether.
    • 52 Metascore
    • 38 Critic Score
    Charlie's Angels
    All the feminist virtue-signaling in the world can’t conceal the film’s creative conservatism.
  79. First Date
    The shadow of Risky Business looms large, and distractingly, over Manuel Crosby and Darren Knapp’s film.
  80. The Amateur
    The Amateur is a relaxed and pleasurable throwback to the spy pulp of the 1970s and ’80s, yet told with a (mostly) honest appraisal of the C.I.A.’s ethical failings.
  81. Greed
    The film takes occasional stabs at comic grotesquerie, but it’s brought back to earth by an insistent docudrama seriousness.
  82. SuperFly
    SuperFly is a slicked-up, tricked-out revamp that dispenses with any pretense of verisimilitude in favor of rap-video extravagance and mob-movie bloodshed.
  83. In the Grey
    At some point before the truncated-seeming finale, the film is just chasing its own tail.
  84. Winter in the Blood
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
  85. Windfall
    Windfall has a difficult time landing on the right tone or getting a bead on its characters.
  86. Anyone But You
    Will Gluck’s rom-com doesn’t bother to create a compelling world around its charming leads.
  87. Ghost in the Shell
    The primary pleasure of the film resides in its awareness of the impossibilities of unity, whether physical or cultural, within a rapidly transforming global milieu.
  88. Wolf
    The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
  89. Magic Mike's Last Dance
    By never committing to neo-screwball antics nor a more serious analysis of codependency, the film ends up stranded in emotional ambiguity.
  90. Detachment
    Endng in risible bathos, Tony Kaye's urban high school melodrama is all about the cute teacher's crises and the girls who love him.
  91. Central Intelligence
    It's a pity that no one else involved in the making of the film had Dwayne Johnson's sly intuition.
  92. School Daze
    School Daze is, if nothing else, a compelling time capsule of racial politics in the late ‘80s, ethnographically sealed-off in a hothouse micro-environment (an all-black college campus) that’s as constrictive as Lee’s varying plot threads and stylistic whims are profuse.
  93. Over Your Dead Body
    Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.
  94. Silent Night
    The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
  95. The Last Voyage of the Demeter
    The film suggests a gene splice of a slasher flick and supernatural horror. But as enticing as that combination may sound, André Øvredal’s rendering of it is as bland and listless as the blues and grays that dominate the film’s color palette.
    • 52 Metascore
    • 50 Critic Score
    Wasteland
    At heart a heist movie, snappy and dry in its humor, clever in its elaborate robbery scheme, and somewhat bloated and unspooled in its storytelling.
  97. Alone in Berlin
    The film attempts a tone of tragic understatement that registers instead as flat, plodding, and underfelt.
  98. Grease 2
    The sequel to Grease is not much more than a remake, wherein every minute detail is nothing more than an attempt to pilfer the magic of the first film.
  99. Chasing Madoff
    The fawning personal-life segments are overdone, and undermine the film's compelling reportage about Madoff's ruse and downfall.
  100. The Iron Lady
    The wonder and terror of Meryl Streep's performance in The Iron Lady is her formidable ability to nail the disheartening talents of not just Margaret Thatcher, but so many conservative politicians like her, who have a tremendous knack for changing minds and beckoning cheers while underlining their own rigid ignorance.
Page:

Top Trailers

See all »
See all trailers »