Slant Magazine's Scores

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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
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  1. 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.
  2. Meeting Evil
    Chris Fisher so over-directs his material that the action takes on the sheen of a parody or, at least, of a film that doesn't realize its clichés are being exaggerated to the point of absurdity.
    • 49 Metascore
    • 25 Critic Score
    Cheerful Weather for the Wedding
    The Donald Rice film suffers most from an excessively blunt approach.
    • 60 Metascore
    • 25 Critic Score
    Caroline and Jackie
    Because the whole thing feels so amateurishly improvised, Caroline and Jackie doesn't so much enter into Michael Haneke territory as slip backward, over a banana peel, into some bad-faith parody of the same.
  5. Robot and Frank
    Christopher D. Ford's film is nothing more than a Lifetime movie dolled up in cheap Philip K. Dick drag.
  6. 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.
    • 34 Metascore
    • 25 Critic Score
    Nesting
    The way Nesting goes out of its way to tell us where its set is symptomatic of the film in general.
  8. For Greater Glory
    The film is awash in blandly brown-toned cinematography, action scenes more violent than rousing, and a whole host of bathetic subplots.
  9. 30 Beats
    While it lends itself to some interesting insight on the politics of non-exclusive, fuck-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.
    • 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.
    • 54 Metascore
    • 25 Critic Score
    Redlegs
    Redlegs may be "raw," but it's meaningless. That's something Cassavetes would have never abided.
  12. The Perks of Being a Wallflower
    A risible, somewhat revolting piece of pop martyrdom, made for and isolated to the damaged middle class.
  13. 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.
  14. Wish Me Away
    The film is ultimately too concerned with courting the singer's fans to deliver anything more than a theatrical release of a very special episode of VH1's Behind the Music.
  15. The Tortured
    Robert Lieberman's Perverted Justice advert spins its wheels with scene after scene impatiently cut like a montage sequence.
  16. That's What She Said
    An embarrassing girls-behaving-badly indie romp you'd expect a group of friends to write after an all-you-can-drink brunch.
    • 39 Metascore
    • 25 Critic Score
    Dead Man Down
    The action merely meanders when it should be hurtling forward, running in circles when one expects it to head toward a conclusion or some sense of resolution.
    • 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.
  19. The Do-Deca-Pentathlon
    In Jay and Mark Duplass's film, the fragile middle-aged male ego is indulged, massaged, and, finally, critiqued.
  20. Little Birds
    A film of precious, romanticized misery and squalor.
  21. Need For Speed
    Even when compared to other films posing as Ford Mustang commercials, Need for Speed isn't particularly memorable for anything other than the startling incompetence and dull sheen of the end result.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. Kick-Ass 2
    The film doubles down on the love-hate relationship with ultra-violence that typified its predecessor, but A History of Violence this is not.
  27. Bringing Up Bobby
    Just an extended dramatization of the 1980s anti-drug PSA that memorably cautioned "I learned it by watching you!"
  28. The Details
    The Details is as smug and self-satisfied as its privileged lead character.
  29. Lay the Favorite
    Hollywood celebrities romping around in a candy-colored Alexa-shot criminal underworld, pretty much as a means of passing time.
  30. Rio 2
    The net effect is a shapeless would-be diversion in which things just happen independently, a string of effects missing any cause.
  31. Backwards
    Streamlines its busy set of plots and subplots into a 90-minute sprint, throughout which characters often confront and overcome their obstacles within the same scene.
    • 51 Metascore
    • 25 Critic Score
    Snitch
    Snitch is the latest in a long line of films whose sole purpose is to flatten a major social problem into a pulp ideal for self-serious spectacle.
  33. In Our Nature
    In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
  34. BearCity 2: The Proposal
    Doug Langway's film is often too cheesy to, well, bear.
    • 29 Metascore
    • 25 Critic Score
    Trade of Innocents
    Trade of Innocents is as much a piece of social-justice campaigning as it is a work unto itself, an important fact to remember when considering its many flaws.
  36. Bel Borba Aqui
    There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced.
  37. Yogawoman
    It's less a film than an unimaginatively assembled series of talking heads.
  38. The Family
    A film whose only distinguishing characteristic is how big a mess it makes of its already meager ambitions.
  39. Getaway
    Though always speeding forward in some gear of ridiculousness, the film is a lot more fun when it's completely nonsensical, before its baddie's motives and harebrained plot are funnel-fed to the viewer.
  40. A Man's Story
    A Man's Story does a major disservice to an artiste of fashion with a pretty amazing and prolific oeuvre by reducing him to a Bravo-like personality - a personality whose pettiness Boateng's work, though perhaps not his ego, clearly exceeds.
  41. Delivery Man
    The breadth of Vince Vaughn's gregarious persona has never been given free reign by any director and this certainly isn't the game-changer.
  42. Save the Date
    What's worst about the film is how it appropriates its main character's noncommittal selfishness to support its own quaint, anti-establishment themes.
  43. A Dark Truth
    A Dark Truth is one of those unfortunate projects whose component parts are immediately at odds with one another.
  44. Festival of Lights
    Fifteen minutes into Festival of Lights you come to the discouraging realization that you know every infuriating plot beat that will follow.
  45. Parked
    The film takes dramatic material that sounds fairly standard-issue to begin with and proceeds to uncover precious little of genuinely fresh intrigue within it.
  46. Otelo Burning
    The film grows increasingly tiresome the more it flirts with melodrama, unraveling themes of jealousy, regret, and ambition in broad strokes.
  47. Addicted to Fame
    The cinematic equivalent of staging a disaster and then bitching about the mess.
  48. The Sheik and I
    The film is ultimately more concerned with Caveh Zahedi's attempts to pursue a variety of dull passing fancies than with any larger agenda.
  49. A Glimpse Inside the Mind of Charles Swan III
    The film speeds ahead with almost gleeful disinterest in dealing with the narrative challenges it sets up before resolving them in the most perfunctory ways imaginable.
  50. 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.
  51. John Dies at the End
    The frantic, grotesque imagery ironically only highlights Don Coscarelli's inability to truly cut ties with the constraints of accepted storytelling.
  52. Girls Against Boys
    Essentially a horror movie in which the source of the horror shifts from capital-M men to crazed lesbianism.
  53. The Last Exorcism Part II
    Scenes of solemn importance drag on to the point of self-parody in an attempt at establishing mood, while dialogue reeks of connect-the-dots spoonfeeding.
    • 48 Metascore
    • 25 Critic Score
    Emperor
    Peter Webber's historical drama is blunt about its stylistic ambitions while at the same time failing to meet them, and the effect is one of sad ineffectuality.
  55. Happy People: A Year in the Taiga
    It would be inaccurate to call Happy People: A Year in the Taiga the newest Werner Herzog film.
  56. Knife Fight
    Bill Guttentag exaggerates the absurd lengths advisors go to win an election and yet ultimately aggrandizes their behavior.
  57. Baggage Claim
    Writer-director David E. Talbert adapts his own 2003 novel into something as useless as it is implosive.
  58. Reincarnated
    Essentially 90-minute promo video carefully orchestrated by the artist formerly known as Snoop Dogg and his handlers.
  59. Would You Rather
    A shrill Indiewood torture porn that, despite promised shocks and revulsions, doesn't even have the conviction to hold its camera on the story's most appalling twists.
  60. Inescapable
    The film spins its wheels for almost an hour until collapsing under the weight of exposition that renders the mystery nearly besides the point.
  61. Night at the Museum: Secret of the Tomb
    This third and supposedly final edition in the franchise is nothing more than an uncomfortably transparent contractual obligation.
  62. Phantom
    Todd Robinson's film is a third-rate submarine-set drama until, in its final moments, it sinks to fourth-rate.
  63. Planes
    The film feels second-rate in every sense, from the quality of its animation to its C-list voice cast.
  64. The Numbers Station
    Sits awkwardly between shoot 'em up and psychological thriller without offering the excitement of either.
  65. Love and Honor
    The deceptions and romances carry on as one might expect, all while the film makes some attempt at exploring the cultural shifts of the time period.
    • 53 Metascore
    • 25 Critic Score
    Don't Stop Believin': Everyman's Journey
    Sadly, those looking for any insight into Journey from Ramona Diaz's documentary are going to have to look elsewhere.
  67. The Sweeney
    Clichés abound, even in the look of the film, which toggles between post-Ritchie crime-violence burlesque and sleek, Nolanesque faux-grandeur.
  68. Disconnect
    Fails not so much because of its occasional self-seriousness or didacticism than it does from a scattered plot that makes the story's overriding theme or message difficult to grasp.
  69. Unfinished Song
    Part end-of-life romance, part grossly manipulative mush, the film tries to stare grief and mortality in the face while practically shitting rainbows.
  70. Insidious: Chapter 2
    A full realization of the very worst fears one could imagine when its director, James Wan, unexpectedly emerged from the torture-porn murk with its original, spiritedly directed predecessor.
  71. Crazy and Thief
    It's eventually obvious that Cory McAbee mistakenly believes that his characters' resolutely dull adventures speak for themselves.
  72. Silver Circle
    Amateurish and hyperbolic, this animated feature directed by Pasha Roberts makes quite clear his political leanings.
  73. Riddick
    For a film about a killing machine who can see at night, it's fittingly ironic that the film itself is, both narratively and visually, a dark, muddled mess.
  74. Pompeii
    Shockingly, the violent release of smoke, fire, and meteoric debris is positioned more as a climactic afterthought than as the main attraction.
  75. Copperhead
    Ron Maxwell's film, from beginning to end, exudes all the excitement of a textbook history lesson.
  76. 1st Night
    The political dynamic that underpins The Rules of the Game is nonexistent in 1st Night, which is fixated entirely on the zany sexcapades of its characters.
  77. Dracula Untold
    It's a story arc that wouldn't be out of place on Game of Thrones, except it lacks for the HBO program's dense and surprising dramatic reflexes.
  78. Heaven Is for Real
    Heaven Is for Real is by Christians, for Christians, and deliberately, if subtly, antagonistic toward everyone else.
  79. Once Upon a Time in Brooklyn
    As far as derivative crime sagas go, Paul Borghese's film might represent the new gold standard of shameless barrel-scraping.
  80. Project Almanac
    The film delivers the same misogynistic, faux-modernistic jolts of trashy humor and labored plotting that typify the work of co-producer Michael Bay.
  81. Pilgrim Song
    It aims for a sense of soulful introspection that instead comes off as an unwitting parody of languid indie conventions.
  82. A Million Ways to Die in the West
    All the whiny point-scoring is such an explicit appeal for audience sympathy that the dialogue feels derived from a malnourished stand-up routine.
  83. Blood
    Themes of family ties, obsession, and morality, so dramatically realized in Conviction, are gracelessly and shapelessly strewn together here.
  84. Free Samples
    An angry indie that favors hollow ridicule over credibility.
  85. The Expendables 3
    For all the brawn on display, the film never slows down to take in the thrill and talent of hand-to-hand combat.
    • 28 Metascore
    • 25 Critic Score
    As Cool as I Am
    The film is the cinematic equivalent of a teenager, making everything more melodramatic than it needs to be, and impatient with the subtle details of life.
  87. The Stroller Strategy
    What most rankles about the film is the way that its insistence on paternal instincts as the principal signifier of male adulthood leads it to sanction the most childlike behavior of all.
  88. 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.
  89. Hatchet III
    BJ McDonnell, too hesitant to stray from the beaten path set by Green's previous films, lacks the looser, more whimsical hand that would have allowed Hatchet III to transcend its thoughtlessly imitative state.
  90. The Haunting of Helena
    Yet another ghost story that insists there's nothing more chilling than a professional woman charged with raising a child on her own.
  91. Killing Season
    Mark Steven Johnson's Killing Season is a hard movie to take seriously, which is particularly unfortunate since it deals with such weighty issues as genocide, the ethical compromises that everyone makes in combat, and the lingering effects of wartime decisions on participants years down the line.
  92. 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.
  93. Adore
    So deadly serious and yet so goofily unbound that, in some scenes, incest truly seems like it's on the scandalous menu.
  94. Breathe In
    Seemingly high-brow because it's so low-key, but underneath that veneer is an inert, thinly plotted melodrama premised on trite characterizations that would be offensive if they weren't so absurd.
  95. The Lifeguard
    The film heroically stretches out its governing water metaphor to a point that allows it to best Garden State's Guinness World Record for most incessant navel-gazing.
  96. Dom Hemingway
    That Dom is so clearly an up-to-11 caricature, embodied with reliable pizzazz by Jude Law, makes the sentimental moments feel especially false.
  97. Fire in the Blood
    It produces a collection of one-dimensional facts strung together with an utmost respect for chronology and documentary-making's most stale conventions.
  98. The Ultimate Life
    Its thinly veiled message of social conservatism and religious affirmations as the pathway to an ideal life is delivered with all the predigested sentimentality of a Hallmark card.
  99. And While We Were Here
    Suggests a version of Roberto Rossellini's Voyage to Italy reworked as a photo diary posted on Facebook.
  100. Chappie
    The film's exasperating atonality washes out any legitimate idea about identity, education, nature versus nurture, or artificial intelligence that Neill Blomkamp hoped to evince.
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