Slant Magazine's Scores

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For 7,769 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 6.4 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: 4,345 out of 7769
  2. Mixed: 1,491 out of 7769
  3. Negative: 1,933 out of 7769
7769 movie reviews
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  1. How to Survive a Plague
    Presents a cast of characters who must continue fighting, for what's at stake is the very real, very imminent threat of their own deaths.
  2. About Cherry
    The lack of plausible conflict mars the movie's highly commendable depiction of San Francisco as a the new porn capital.
    • 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.
  4. Resident Evil: Retribution
    At this point in the franchise, Anderson is content to alight the saga on a perpetual rewind loop, ever-ending, ever-rebooting, all subsidized by his nonpareil compositional sense.
    • tbd Metascore
    • 38 Critic Score
    Mark Lombardi: Death-Defying Acts of Art and Conspiracy
    Feels like one of those thin, audio-visual supplements on an artist that you casually view as you browse a gallery show.
  6. Step Up To The Plate
    Paul Lacoste's almost purely observational approach allows him to come about as close to documenting the process of creation as anyone ever has.
  7. Liberal Arts
    Liberal Arts provides a peek into what makes Josh Radnor tick, and what he cares about outside his mainstream-targeted sitcom.
  8. Francine
    In a character study of an ex-con who gives her heart and mind to animals rather than people, Melissa Leo's risky performance is ultimately framed with a disappointing, distanced pity.
  9. I'm Carolyn Parker
    What keeps the documentary from lapsing entirely into a generic human-interest story superficially peppered with local color is, oddly enough, the slowness with which Parker's goals are achieved.
  10. 10 Years
    If nothing else, 10 Years is hip to the fleeting, fundamental joys of revisiting one's youth.
    • 86 Metascore
    • 50 Critic Score
    The Master
    The Master is Paul Thomas Anderson with the edges sanded off, the best bits shorn down to nubs.
  12. Arbitrage
    If the film covers well-tread territory (a morally bankrupt player trying to prolong his own influence), it does so with pinpoint control of mood and theme.
  13. The Words
    The film folds narratives on top of narratives in a vain attempt to mask the fact that there's nothing to read between its graceless lines.
  14. Hello I Must Be Going
    Thanks to Melanie Lynskey's performance, the movie feels like a believably worked-out, sympathetically presented study in thirtysomething uncertainty.
  15. Serving Up Richard
    After a promising entrapment scene that offers some casually eerie narrative details, the film collapses, lurching awkwardly between a variety of tones and intentions.
  16. Bachelorette
    This nearly pitch-black comedy is better than its tiresome use of '90s pop references, no matter how much they illuminate what the gals bonded over back in the day.
  17. The Inbetweeners Movie
    Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong.
  18. [REC] 3: Genesis
    If a fourth entry wasn't already in the works, [Rec] 3: Genesis could have easily represented the nail in the franchise's coffin.
  19. Toys in the Attic
    Jirí Barta's film is a disturbing through-the-looking-glass reflection of traditional fairy tales.
  20. Keep the Lights On
    More than just a relationship drama of striking specificity, this is a naked confession about addiction.
  21. Las Acacias
    This lovely film is ultimately an articulation of something at once simple and universal: the discontent of traveling through life with sad resignation.
  22. Detropia
    Seems to be looking for answers, but the ones it finds are too close to the surface to be satisfying.
  23. Girl Model
    The documentary makes you wonder about every beautiful woman who's ever stared out from a publication, poster, or billboard, looking sophisticated and self-assured.
  24. The Eye of the Storm
    This adaptation of a prize-winning Australian novel is a stodgy slog save for some sporadic moments of blunt force supplied by Judy Davis and Charlotte Rampling.
  25. Beauty Is Embarrassing
    Neil Berkeley's documentary is as puckish as its subject, so steeped in artist Wayne White's creative juices that it makes you want to go straight home and start making things.
    • 22 Metascore
    • 12 Critic Score
    The Cold Light of Day
    Relates more or less the same story as Spy Kids, though in this case the kid is in his late 20s and the spy stuff is much less believable or robust.
  27. For Ellen
    So Yong Kim's direction remains ruminative, even poetic, in its pacing, its sense of place, and its approach to intimacy, but this is her most unsuitable script.
    • 52 Metascore
    • 75 Critic Score
    The Tall Man
    Illustrates the problem of class mobility with a dark, troubling premise that holds a harsh light up to our own assumptions and expectations.
  29. The Bullet Vanishes
    It's a prevailing sense of decency that explains why The Bullet Vanishes is such an effective tonic for summer-movie fatigue.
  30. The Flying Swords of Dragon Gate
    Tsui Hark's film is the veteran director's chance to let his imagination run riot in the context of a high-budget, 3D IMAX production.
  31. The Day
    Despite being a nasty and skillful action film, The Day goes off the rails in the final stretch.
  32. The Possession
    Remarkable only in how brazenly it embraces the tired yet proven formula that these modern ghost tales deal in.
  33. The Oogieloves in the Big Balloon Adventure
    Enduring this brainless kid's film is akin to witnessing the end of the world.
  34. The Ambassador
    Bothing is pointedly outlandish in Mads Brügger's latest, a fact that represents its triumphs and burdens.
  35. Breathing
    Can a film be faulted for being too sympathetic toward its characters, for limning a milieu with extraneous humanism?
  36. Ornette: Made in America (1985)
    Shirley Clarke's portraiture eschews cohesive biography and often spirals off into lyrical dissonance.
  37. For a Good Time, Call...
    While the heart of the movie is the at-times strained relationship between the two leads, it all unfolds rather by the numbers, dictated more by the expected arc of such things than the demands of the characters.
  38. Lawless
    Lawless may be full of half-hearted overtures toward depth and emotional complexity, but the film's prestige sheen is mostly a sham; the real focus here is the irrepressible lure of bad behavior.
  39. 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.
  40. The Apparition
    The story is a worthy one, but the film lacks any daring expressive touches that might have made it, at the very least, noteworthy.
    • 55 Metascore
    • 38 Critic Score
    Wild Horse, Wild Ride
    If this sounds like the premise of one of those tiresome Discovery Channel docu-tainments, it's because it essentially is, only heavily abbreviated to fit the feature-film format.
  42. Premium Rush
    Proves how invigorating genre filmmaking can be in the hands of a savvy, perpetually inventive director.
    • 67 Metascore
    • 63 Critic Score
    Somewhere Between
    For what often feels like an obligatory "Where Are They Now?" DVD extra, the documentary is surprisingly affecting.
    • 65 Metascore
    • 75 Critic Score
    Samsara
    Ron Fricke's film is a brightly hued bauble, fit for rapturous contemplation.
  45. Sleepwalk with Me
    The funny thing about the movie isn't its failure-to-launch humor, but the weird mess of life that rushes in despite it.
  46. The Victim
    Not much happens in The Victim, but the events that do manage to transpire consistently support a reading of the film as an older man's fantasy of virility.
  47. Little White Lies
    The specific narrative handicaps throughout are mostly too banal to warrant exegesis, though the choice of vintage pop tunes for dramatic underscoring is particularly grating.
  48. Teddy Bear
    From its title to its closing caress, Mads Matthiesen's film skates perilously close to the cliff's edge of mawkish sentiment.
  49. The Revenant
    Since Bart's bloodlust is never matched in tenor by his righteousness, the story remains rife with unfulfilled moral inquiry.
    • 77 Metascore
    • 63 Critic Score
    Neighboring Sounds
    The images, while beautiful, are sentimental, as if Kleber Mendonça Filho is trying to negotiate too much.
    • 50 Metascore
    • 25 Critic Score
    Hit and Run
    Far more frustrating than the film's banally conventional plot structure is its characters' lack of depth.
  52. General Education
    Too derivative to be amusing and too earnest to be parodic, it assumes the form of countless other teen comedies minus any wit or drama.
  53. Death by China
    Further confirmation that agitprop documentaries have become wedded to a template that undermines their very arguments.
    • 57 Metascore
    • 12 Critic Score
    Painted Skin: The Resurrection
    A vaporous, watered-down frappe of a fantasy epic.
  55. Sparkle
    Whitney Houston's death is just about the only thing that gives the film real, albeit mostly unintentional, life.
  56. 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.
  57. Robot and Frank
    Christopher D. Ford's film is nothing more than a Lifetime movie dolled up in cheap Philip K. Dick drag.
  58. Beloved
    Ultimately crammed at a frustrating juncture between period-piece froth and seriously conceived drama, never tipping its hand toward either.
  59. True Wolf
    The documentary veers between repetitive and didactic pronouncements of a call to inaction and more affectionately told stories about Koani's life as an "ambassador wolf" on the elementary school circuit.
  60. Little Birds
    A film of precious, romanticized misery and squalor.
  61. Why Stop Now
    Shifting between wacky situation comedy and somber familial drama, Why Stop Now? isn't invested enough in either mode to convincingly pull off its genre-hopping ambitions.
  62. Side by Side
    A serviceable primer on the digital-celluloid divide in commercial cinema, if a bit unwieldy in scope and in danger of being made obsolete by the next version of the RED camera.
  63. The Matchmaker
    The film ultimately fails to treat history as anything but a string of melodramatic reference points for moody characters haplessly trying to find love.
    • 51 Metascore
    • 75 Critic Score
    The Expendables 2
    It plays out like a series wet-dream scenarios, performed by a cast of vintage action figures battered and broken from overuse, bleached and slightly molted from sitting in the sun too long.
  65. ParaNorman
    The tagline for the film reads "You Don't Become a Hero by Being Normal," and the film mostly lives up to that assertion, but only up to a point.
  66. The Odd Life of Timothy Green
    Disney draws a big fat bullseye on the fast-growing infertile-couple demographic with this airless misfire.
  67. Compliance
    It seems as if Craig Zobel wants to implicate the audience in these proceedings, but he doesn't have a very clear idea how to go about it.
    • 58 Metascore
    • 88 Critic Score
    Cosmopolis
    Diamond-hard and dazzlingly brilliant, David Cronenberg's film plays like a deeply perverse, darkly comic successor to Videodrome.
    • 38 Metascore
    • 50 Critic Score
    Goats
    Christopher Neil's film is more location-scouted and photographed than directed and acted.
  70. The Campaign
    A lumpy spoof of electoral mudslinging that offers some bracing bipartisan contempt amid the lowbrow, labored slapstick.
  71. Supercapitalist
    Ultimately plodding and resolutely old-fashioned, a corporate thriller for folks too square to indulge the possible existence of hungers so strong they must be satisfied at any cost.
  72. Almayer's Folly
    Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines.
  73. Max and the Junkmen (1971)
    Regarding Michel Piccoli's Max, Claude Sautet's film resists judgment, neither condoning nor signposting the despicable nature of his choices.
  74. The Bourne Legacy
    One successful set piece in 135 minutes, and it involves very little running, no parkour, and no genetically enhanced superheroes from clandestine government projects.
    • 65 Metascore
    • 63 Critic Score
    We Women Warriors
    Looks and sounds considerably better than nearly every other independent documentary of its kind, forming an argument that's clear and cogent and virtually free of obvious manipulation or pandering.
    • 67 Metascore
    • 50 Critic Score
    The Green Wave
    Unlike Waltz with Bashir, it only seems to be using animation in an effort to make blog diaries by twentysomethings appear cinematic.
  77. This Time
    Documentary director Victor Magnatti is more comfortable with loud and proud, and perhaps a tad suspicious of insinuation and circumspection.
  78. Drought
    Everado González isn't above capturing some striking landscape shots, seemingly for the shear desolate prettiness of it, but they always double as a reminder of the very real plight facing the subjects.
  79. Meet the Fokkens
    Few recent studies of commercialized sex have been character profiles, so Rob Schröder and Gabrielle Provaas's documentary is an unusual and welcome polemic.
  80. Hope Springs
    A decidedly adult drama about love and sex, wherein the comedy is largely incidental.
  81. Red Hook Summer
    The seamless juxtaposition of faith and pain, innocence and guilt, allows the film to transcend Spike Lee's occasional bombastic moments and become a strong examination of internal suffering.
  82. 2 Days in New York
    It keeps the entrances, exits, and misunderstandings rolling while rooting the action in emotions and character traits that are only slightly exaggerated for comic effect.
  83. Nitro Circus: The Movie
    While the Nitro Circus's many achievements are impressive, they pale in comparison to those of Knoxville and company's.
  84. Chicken with Plums
    A fable about the damage done when a young couple is forced to part, Chicken with Plums is deeply melancholic, yet so full of humor and humanity that it pulses with life even while tracing the trajectory of a slow suicide.
  85. Diary of a Wimpy Kid: Dog Days
    A half-hearted morality tale about taking responsibility for your actions as a sign of impending maturity.
    • 43 Metascore
    • 38 Critic Score
    Total Recall (2012)
    Len Wiseman's Total Recall's a trifling mess, as superfluous as a third breast.
    • 66 Metascore
    • 75 Critic Score
    Mosquita y Mari
    Most of what transpires between the two girls feels as internal as something you only keep to yourself.
  88. 360
    Directed by Fernando Meirelles from a dusty script by Peter Morgan, 360 is all superficial stimulation, hollow and stiff as it beats the dead horse of we're-all-connected narratives.
  89. Sushi: The Global Catch
    The documentary is ultimately a dry endeavor that feels closer in spirit to an Afterschool Special than a full-blooded movie.
    • 57 Metascore
    • 25 Critic Score
    You've Been Trumped
    Though Anthony Baxter seems driven by empathy rather than greed, his film is ultimately as reductive and misleading as the expensive Trump PR campaigns he righteously rails against.
  91. Dreams of a Life
    Dreams of a Life succeeds in making its point about the unkowability of the people in our lives, but there isn't quite enough substance here to fully sustain the film.
  92. Assassin's Bullet
    Isaac Florentine's film is maligned with gaping plot holes, terrible expository dialogue, and obvious moments of foreshadowing.
  93. Celeste and Jesse Forever
    An honest and breezily melancholic film, thoroughly clear-sighted in its intentions and ideas and bravely committed to the emotional rigors of its central relationship.
  94. Craigslist Joe
    As hard as he tries, we never truly believe there's a lot at stake for Garner, who seems to cruise through America like a gringo taking a favela tour in Rio.
  95. Burning Man
    Say what you will about Burning Man, but writer-director Jonathan Teplitsky can't be accused of spoon-feeding his audience.
  96. The Babymakers
    A safe, laugh-free exercise that gets to have its fun, such as it is, because it's all in the service of the most conservative notions of domestic normality.
  97. The Watch
    What's perhaps most off-putting about the movie isn't its increasingly stale humor, but the way it ultimately validates its characters' worst impulses.
    • 54 Metascore
    • 63 Critic Score
    Big Boys Gone Bananas!*
    The issue remains that this variety of faux-populism seems better suited to the soapbox than the silver screen.
  99. Falling Overnight
    Falling Overnight recalls some of the more annoying entries in the mumblecore subgenre that erroneously believe that every indiscriminate moment in a person's life is worthy of a film regardless of subtext.
  100. Step Up Revolution
    The film busts a fierce move but never relishes the unique cultural essence that its gentrifying baddie threatens to snuff out.
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