Slant Magazine's Scores

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For 7,775 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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  1. Autumn Lights
    The film is like a landlocked Bergman chamber drama divested of any ambivalence regarding human relationships.
  2. The Professor
    The film goes down easy because it saves the self-improvement clichés for the homestretch.
  3. Atlas
    Atlas seems like a story that should have been experienced with a gamepad in hand.
  4. Wrath of the Titans
    Made possible by the half a billion dollars Clash of the Titans garnered worldwide, Wrath of the Titans sputters and coughs on the fumes of its own inevitability.
  5. The Lone Ranger
    The movie, of course, barrels toward climax upon climax, and while possibly better photographed, the crashes, bangs, and booms are no less numbing than anything else you've seen in this summer of garbage blockbusters.
  6. The Face of an Angel
    Michael Winterbottom's film is a mess of tones, but not of ideas, which could well sum up the director's prodigious but uneven oeuvre.
  7. Seven Days in Utopia
    God bless Robert Duvall. An American cinematic institution, our greatest living actor makes the fortune-cookie bromides of Matthew Dean Russell's Seven Days in Utopia sound like Yates.
  8. Walking with Dinosaurs
    The strain to make the film both an educational tool and a child-minded entertainment is noticeable throughout.
  9. Annabelle
    It's all a far cry from James Wan's The Conjuring, which embraced the thrill of the paranormal even as it respected its frazzled, earthbound characters.
  10. Cold Comes the Night
    Tze Chun's film exudes no flair in rehashing the violence and suspense of its predictable noir-thriller material.
  11. Spy Kids: All the Time in the World
    Even the use of the 3D format -- and the 4D "Aroma-Scope," which allows the viewer to enjoy various odors in sync with the film -- adds to its good-natured earnestness.
  12. Night of the Lepus
    William F. Claxton’s film is a radically dull riff on the nature-run-amok genre, utilizing what must’ve felt at the time like the only animal not yet exploited to scare audiences. But scares are exactly what the filmmakers didn’t get.
  13. Are You Here
    The female characters on Mad Men are probably the show's strongest asset, but here they're hollow to the point of insult.
  14. Ex-Girlfriends
    The romantic quest that's meant to drive the film is meaningless because Alexander Poe has extended empathy to no one besides himself.
  15. Fist Fight
    Over-stuffed and under-conceived, Fist Fight is a clumsy mélange of clashing comedic perspectives.
  16. An Eye for Beauty
    Denys Arcand fashions a commandingly leisurely pace that allows us to follow these people who walk a tightrope separating ecstasy from misery.
  17. Heist
    Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
  18. Fun Size
    It pairs modern attitude with John Hughesian tropes, and it's odd enough, in spurts, to boast originality.
  19. Special Forces
    The film walks a questionable line between Important Issue seriousness and antsy video-game machismo.
    • 37 Metascore
    • 38 Critic Score
    Delhi Safari
    A much better way to strike home the same green message, while also having more fun, would be to just skip this movie and take your kids to a national park.
  21. Dirty Girl
    There's a girl, and she's prone to dirty acts, but that's just one patch of this arbitrarily stitched quilt of white-trash, Bible-Belt transgression, which flattens under the weight of a truckload of half-realized ambitions.
  22. The Samaritan
    The Samaritan treads a fine line between film-noir moodiness and crime-thriller triteness, mostly settling for the latter.
  23. Jessabelle
    Rather than commit to exploring Jessabelle's existential crisis, the filmmakers opt to pile on the clichés straight until the rotten denouement.
  24. Let My People Go!
    Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.
  25. The Nut Job
    There's no personality in the design or the script, which only renders the cynical aftertaste of this convoluted one-squirrel-against the-world story all the more potent.
  26. In the Blink of an Eye
    In the Blink of an Eye feels less like a film than a commercial for life insurance that got out of hand, or perhaps more accurately one for the kind of hollow Silicon Valley tech optimism that has been thoroughly exposed as a sham by now.
  27. Red Notice
    A constant sense of motion can’t obscure how stale, secondhand, and spiritless this entire endeavor feels.
    • 37 Metascore
    • 38 Critic Score
    Allegiance
    Michael Connors does a fine job of not passing judgment on his characters, yet his depiction of his main character's dilemma is about the only thing he handles correctly.
  29. The Bye Bye Man
    Stacy Title’s film ends up succeeding most deftly as an advertisement for on-campus housing.
  30. Wolves
    The cinematographic approach of the film suggests some unholy hybrid of the aesthetic and genre indulgences of Michael Bay and the hyper-literalist plot construction of Christopher Nolan.
    • 37 Metascore
    • 12 Critic Score
    The Double
    If the idea of a political thriller with a modern-day Cold War theme resonates with you or something in our collective unconscious, my FOMO levels are higher than a lonely night on Facebook.
  32. This Time
    Documentary director Victor Magnatti is more comfortable with loud and proud, and perhaps a tad suspicious of insinuation and circumspection.
  33. Caught in the Web
    The film opts for didactic resolution instead of fully committing to the contradictions in identity and agency its main character embodies.
  34. Only God Forgives
    It takes the basic form of the revenge flick and dips it in tar, making for a movie that comes out sticky, nasty, and black.
  35. The Frozen Ground
    Taste and good intentions are only going to get one so far with a script this tone deaf and direction this ugly and monotonous.
  36. 10 Cent Pistol
    One wishes the director had as burning of an interest in significance as he does trickery and quippery.
  37. Lipstick
    It’s Lifetime. It’s camp. It’s seriously confused, and it should speak directly to drag queens in straight relationships everywhere.
  38. Life Upside Down
    The film could aim with a bit more precision at the price of its characters’ evident comfort.
  39. The Super Mario Galaxy Movie
    The film has, figuratively and literally, somehow even less gravity than its source material and predecessor. The visual language is divorced from reality and referent to the games; even Looney Tunes action is grounded in the real world—the better to subvert it.
  40. W.E.
    W.E.'s is a kind of dynamic pleasure that allows for non-shameful identification with the feminine and a fantasy of becoming what we see.
  41. The Out-Laws
    The Out-Laws shines when it spotlights the committed performances of its cast.
  42. Demonic
    Like District 9, the film is a genre outing with big ideas that’s more committed to the power of arsenals and pyrotechnics.
  43. Mainstream
    The film has the knowing swagger of something on the cutting edge but none of the self-awareness to realize it’s late to the party.
  44. 3-D Sex and Zen: Extreme Ecstasy
    For a film so proud of its trail-blazing status ("the first 3D erotic movie"), 3d Sex and Zen is certainly driven by the same good old symptoms.
  45. Big Significant Things
    Its anodyne tastefulness effectively lumps it into a big vat of likeminded Sundance-or-SXSW-endorsed offerings.
  46. Bravetown
    The filmmakers attempt to acknowledge the pain of warfare within the framework of a redemptive story that lends it an unforgivably patronizing sense of closure.
  47. Days and Nights
    The drama over dinner comes in small analgesic portions, and the secrets feel canned and the dialogue is too pretty to be believable.
  48. Damascus Cover
    The film trots out thinly conceived villains and a murky plot twists that leave crucial details needlessly shrouded in mystery.
  49. Shanghai
    Everything in Mikael Håfström's film is needlessly bloated to accommodate its status as an international, prestige production.
    • 36 Metascore
    • 50 Critic Score
    Beware the Gonzo
    As Beware the Gonzo happily dreams up its nerdy hero's victories over bullies, school censorship, and feeling like a nobody, it seems to do so from another time.
  51. My Spy: The Eternal City
    My Spay: The Eternal City is derailed by how readily it succumbs to the ludicrousness of a plot that generates stakes that are far too heavy for the threadbare structure to support.
  52. Sherlock Gnomes
    Arthur Conan Doyle's legendary characters feel as if they've been air-dropped into a universe where they don't belong.
  53. The Unholy
    Writer-director Evan Spiliotopoulos barely capitalizes on the luridly sacrilegious implications of the film’s premise.
  54. The Canyons
    Paul Schrader and Brett Easton Ellis don't have the sense of play this kind of narrative of one-upmanship requires, as we're never allowed to enjoy the characters' misdeeds.
  55. Space Jam: A New Legacy
    As soon as LeBron and Dom are sucked into computer space, A New Legacy largely abandons its underlying criticism of soulless corporate regurgitation of art-as-product and instead becomes an exhausting tour through the Warner Bros. catalog.
  56. Victor Frankenstein
    Victor Frankenstein is the movie version of a carnival sideshow, all smoke and mirrors, presenting a litany of human freaks and animal monstrosities to distract from the superficiality of its psychological and intellectual concerns.
  57. Lotus Eaters
    The free spirit-ness of its characters is certainly mirrored in the film's aesthetic playfulness, but the initial glimmer of Fassbinder-esque expression quickly veers toward Xavier Dolan-grade affectation.
  58. Goodbye World
    The tetchy band of thirtysomethings' interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.
  59. Criminal
    Criminal's absence of style, the lack of relish the filmmakers take in the material's inherent ludicrousness, is a failure of conviction.
  60. The Son of No One
    The Son of No One is driven by mood and atmosphere to the extent that the stakes-free story and interest-free characters seem almost incidental, and such is surely the movie's saving grace -- a perverse style that overshadows a severe lack of substance.
  61. The Art of Getting By
    If not for its lack of self-awareness, The Art of Getting By would seem to be a spoof of ennui-inflicted teen dramas, because how else to explain the fact that Gavin Wiesen's debut is comprised of only clichés of clichés?
  62. Sex Tape
    By the time a blackmailing plot is introduced, the film seems to be surviving solely on the fumes of curse words and frequent shots of Jason Segal and Cameron Diaz's backsides.
    • 36 Metascore
    • 50 Critic Score
    My Uncle Rafael
    The Americans are clichéd and vapid, and seeing them get knocked around and told to wake up can be validating if you know people as obnoxious and spoiled as them.
  64. Gone
    Nearly a year has passed since the release of Catherine Hardwicke's Red Riding Hood, and Amanda Seyfried is still crying wolf.
  65. Pan
    Whatever drugs director Joe Wright may or may not have been on when he wrestled Pan to the ground, pulverizing the material into a quivering mound of monkey-bread dough, you can trust that they were synthetic. Not a single emotional moment in this entire origin story for J.M. Barrie's Peter Pan, Captain Hook, and Neverland feels organic.
  66. Parental Guidance
    Andy Fickman's comedy offers a confused and flat portrayal of generational differences.
    • 36 Metascore
    • 50 Critic Score
    The Hot Flashes
    Seidelman's attempts to provide positive, alternative representations of marginalized people and problems is overly ambitious.
  68. Assassin's Creed
    The film ends up with both blurry action that often looks digitally faked and a fractious plot that’s stuck over-explaining itself.
  69. I Am Happiness on Earth
    If the film defies conventional form, it does so without the gravitas that conceptual cohesion brings, quickly rendering its experimentation into gratuitous aesthetic masturbation.
  70. 6 Days
    6 Days boils down the intricate relationship between Iran and the West into a tense standoff of conflicting ideals where the values and perspectives of only one side really matter.
  71. This Is Not a Test
    The film struggles to bring its non-zombie characters to life.
  72. Conan the Barbarian
    The re-whatevered Conan the Barbarian feels unexpectedly low-rent, even with its multi-million-dollar backdrops and ear-splitting, rumbling soundtrack and (presumably post-converted) 3D imagery.
  73. Special Correspondents
    Ricky Gervais's film hopscotches through a variety of premises, looking for jokes that never arrive.
  74. Solace
    It joylessly coopts the hoariest stylistic tics and narrative tropes from your run-of-the-mill 1990s thriller.
  75. That Awkward Moment
    Its obsession with male genitalia, or, more specifically, penis receptacles, is emblematic of its overall aura of male entitlement and its consideration of women as prizes to be lanced.
  76. Blind
    At one point, the film makes a bold but foolish move by getting in the ring with Tolstoy, analogizing itself to Anna Karenina in a self-seriously laughable attempt to pass its schmaltzy and contrived romance narrative off for something significantly grander.
  77. Serena
    The film can't reconcile Ron Rash's apocalyptic tenderness with its own eagerness to revel in romantic star allure.
  78. Runner Runner
    The ultimately forgettable Runner Runner is, for a gambling film, markedly risk-averse.
  79. Standoff
    Standoff isn’t quite inspired, but it coasts on unexpected modesty of professionalism.
  80. Harley Davidson and the Marlboro Man
    Harley Davidson and the Marlboro Man is one passable joke stretched out over 98 minutes with nothing in the way of a real movie to support it.
  81. The Perfect Guy
    It uses convention to its advantage through an intriguing play with casting choices and bizarrely effective allusions to film history.
  82. The Nut Job 2: Nutty by Nature
    Though it may clear the low bar set by the first film, The Nut Job 2 still suffers from many of the same problems.
  83. Naked
    Right from the very beginning of Rob’s cruel cycle that sees him repeatedly returning to the floor of that elevator every time the church bells at his wedding begin to ring, Naked besmirches the reasons that Groundhog Day's Möbius-strip construction worked.
  84. Red Lights
    That all the good things--and there are several--Red Lights has going for it are ultimately in service of an ending that might even make M. Night Shyamalan cringe represents one of the year's biggest missed opportunities.
  85. Forever My Girl
    Forever My Girl makes one wonder if Bethany Ashton Wolf actually thinks this is what true love is like.
  86. Lucy in the Sky
    Noah Hawley treats his protagonist’s story as a somber tragedy that at times stoops to trashiness.
  87. 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.
  88. Best Man Down
    While it tries to relate a story about the sloppiness of life, the way best-laid plans can go wrong in an instant, its script is neatly and tidily structured.
  89. Inside
    At best competently mounted and at worst a case study in watering down chaos for an American market.
  90. The Captive
    The film has the plot of an intensely lurid thriller, but Atom Egoyan can't bring himself to face that and actively tend to the story; instead, he trades in barely coherent, high-brow euphemisms.
  91. Big Sky
    Jorge Michel Grau's ambitions are stalled by a screenplay that seems to have never made it past a first draft.
  92. Dumb and Dumber To
    There's much more plot floating around during the sequel, all leading up to a climax at the "KEN Conference" that suffers in comparison to Silicon Valley's mockery of the same milieu.
  93. Archaeology of a Woman
    It purports to be an incisive character study dramatized through outré "dream logic," but Sharon Greytak's ineptitude at this very Lynchian aesthetic sucks all nuance and spirit out of the film.
  94. Ithaca
    The film is confused in conception, dreary in execution, and completely lacking in forward momentum.
  95. Art History
    The staging of this dissociative roundelay is still presented in a forcefully lo-fi format, prizing roughly framed shots, improvisation, and flat characters, but there are ever clearer indications that Swanberg is producing something more than empty-headed slacker cinema.
  96. A Promise
    Patrice Leconte struggles to find a coherent rhythm, a problem exacerbated by a hurried running time that compresses some of the novella's more interesting socio-political nuances.
  97. Father of Invention
    There's no spark or humor to the film's situations, just the sense of capable actors trying to make the best of a hopeless situation.
  98. Revenge of the Green Dragons
    Like Better Luck Tomorrow, it tries to cut cool-movie poses under the pretense of providing an alternative racial viewpoint to typical genre tropes.
  99. Perfect
    Eddie Alcazar’s film is a purposefully inscrutable, wandering, disconnected, symbolic, and highly precious mood bath.
  100. Addicted to Fame
    The cinematic equivalent of staging a disaster and then bitching about the mess.
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