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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    • tbd Metascore
    • 0 Critic Score
    Silver Tongues
    Silver Tongues is the creation of a filmmaker who's not an acute observer, but a trickster, one who values being clever for the sake of being clever.
  2. Casa de mi Padre
    You know a film isn't going to be considered high art when the guy to your left at the press screening is a reporter from Extra and the guy to your right lets out a loud "That's awesome, man" after each scene.
  3. Laredoans Speak: Voices on Immigration
    Laredoans Speak is bad in a special kind of way that inspires the obviously piteous description of "well-intentioned."
    • Slant Magazine
      • Posted Feb 11, 2012
  4. A Warrior's Heart
    A Warrior's Heart is so inept at developing itself as a film that it hands in all of its devices to the soundtrack itself and becomes a music video.
    • Slant Magazine
      • Posted Feb 11, 2012
  5. Beautiful Creatures
    Beautiful Creatures basically spits in the face of a legacy of literature founded on feelings of exclusion and social alienation.
  6. Good for Nothing
    The title is apropos, but it's also an understatement.
    • 33 Metascore
    • 0 Critic Score
    Losing Control
    The film, in its defense, is far too vacuous to be accused of having any kind of agenda--it just happens to get its politics wrong along with everything else.
  8. Last Will and Embezzlement
    The doc is so obnoxiously simplistic that you find yourself strangely unsympathetic to its objectively inarguable aim to promote greater standards of elder care.
    • 33 Metascore
    • 0 Critic Score
    The Cup
    One wonders who the audience is for a film this far removed from the dirt and grime of the reality it claims to be based on, and why they find anything so squeaky-clean appealing.
    • 34 Metascore
    • 0 Critic Score
    Sexual Chronicles of a French Family
    Its scope is too limited for it to muster much of a response in us beyond basic titillation. And there are plenty of better places to go for that.
  11. Knockdown
    The film is a tedious narrative shambles that's almost hilariously unaware of its racism and sexism.
    • 33 Metascore
    • 0 Critic Score
    Rites of Spring
    Padraig Reynolds's film has no interest in self-awareness, and in fact wears stupidity as a sort of badge of honor.
  13. 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.
  14. The Oranges
    As much as the dialogue in the film voices an attitude of self-liberation and champions the positives of severing accepted social constraints, it seems to be constantly taking one step forward and two steps back.
  15. Least Among Saints
    As a portrait of a self-pitying drunk's wet dream of inexplicable atonement, it's fairly effective, but as a story meant to take place on some rational version of planet Earth, it's utterly hopeless.
    • 45 Metascore
    • 0 Critic Score
    A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
    Graham Chapman's story, frankly, is better served by his Wikipedia page.
  17. Struck by Lightning
    A class-five pity party so unbearably condescending and unconvincing that it might just make you run out and buy an "I'm With Mitt" t-shirt, it makes an inadvertent but hugely compelling pro-bullying argument.
  18. Saving Grace B. Jones
    This cumbersome and graceless 1950s-set period drama possesses the reactionary life insights and amateurish production values of a Lifetime soap.
  19. Jobs
    Steered by a lead actor and director, Joshua Michael Stern, who are both way out of their respective leagues, Jobs is excruciating, failing to entertain and all but pissing on its subject's grave.
  20. Scatter My Ashes at Bergdorf's
    Matthew Miele has made a department store of a documentary, stocked to the hilt with an obscene inventory of storylines, talking heads, and utterly tasteless choices.
    • 38 Metascore
    • 0 Critic Score
    Girl Most Likely
    Shari Springer Berman and Robert Pulcini's dismal, D-grade sitcom isn't fit to lick the boots of Whit Stillman's four films.
  22. 33 Postcards
    Pauline Chan's film is a jumbled mixture of redemptive uplift and genre hijinks.
    • 38 Metascore
    • 0 Critic Score
    2 Jacks
    The embarrassingly low production value of Bernard Rose's 2 Jacks works symbiotically with the film's botched performances.
  24. Gimme Shelter
    Writer-director Ron Krauss's Gimme Shelter is wretched long before its odious ulterior motives come to light.
  25. 10 Rules for Sleeping Around
    For a film so bent on naturalizing the presumably hilarious incongruity of "the sexes," it sure features lots and lots of that site of horror: a naked male body. And for comedic purposes, of course.
  26. Third Person
    If the glue holding Crash's arcs together was Paul Haggis's belief in the power of racism, this time it's love.
  27. The Moment
    The film is a hybrid of a Lifetime movie focused on a "strong woman," a run-of-the-mill murder mystery, and a yogurt commercial from hell.
  28. Nothing Bad Can Happen
    A film so comprehensively miscalculated in its desire to be a batshit think piece that it potentially creates a new category of offense.
  29. America: Imagine a World Without Her
    Beholden to the same plethora of taboos, half-truths, and outright lies traded en masse by mainstream conservatism for the last seven years.
  30. Persecuted
    There's no attempt to convince us that the world is being corrupted by people who haven't accepted the Gospel; it merely assumes we agree with that idea.
  31. The Identical
    The film's so preoccupied with being "inspirational" that it disastrously fails to evoke the allure of rock n' roll, particularly in America in the 1950s, when it represented an erosion of racial and sexual barriers.
  32. Independence Day: Resurgence
    Emmerich rewards our patience with an impersonally massive set piece involving the usual generic stew of mass CGI-imagined demolition. The insensitivity displayed toward human life in these sequences would be galling even by Emmerich's standards, if this pitiful albatross of corporate capitalism could work up enough energy to be offensive.
  33. Always Woodstock
    The filmmakers play Catherine's disgustingly narcissistic sense of entitlement as endemic to the supposedly girl-next-door charms befitting the film's thoroughly normative gender politics.
  34. No Escape
    The only way that this film could be any more racist is if the Dwyer family holed up with Lillian Gish and waited for the Klan to save them.
  35. Accidental Love
    So flimsily constructed, visually and narratively, that it resembles a middle-school play that's been hastily filmed on an antique camcorder.
  36. Queen of the Desert
    Throughout Queen of the Desert's narrative, there's no sense of danger, of texture, or even of a rudimentary idea of what's truly driving Gertrude Bell.
  37. The Human Centipede III (Final Sequence)
    Tom Six has achieved the seemingly impossible: He's made a film even less watchable than "The Human Centipede II."
  38. Skin Trade
    There's no beauty to this film, little rhythm, none of the physical grace that action-film fans crave even if they don't know they do.
  39. 7 Minutes
    Whether because of race, shame, shelter, or fright, 7 Minutes remains white in the face throughout.
  40. 4th Man Out
    It's a bizarre and retrograde spectacle, as clueless and incurious about friendship as it is about the rudiments of composition and screenwriting
  41. King Cobra
    It’s difficult to find a reason for the film's existence beyond a spoiled platform for James Franco's ersatz boldness.
  42. The Last Face
    The Last Face's shameful exploitation of Africans doesn’t stop with the mere privileging of its two wealthy white doctors and their trivial personal struggles within the narrative.
  43. Carrie Pilby
    The film is essentially an exercise in forcing a female genius back into her proper place of dependence on both the father figure and the Prince Charming.
  44. The Eyes of My Mother
    Though the film strives to be audacious and galvanizing, it's easily shaken off as an exercise in stunted necrophilia erotica.
  45. Lazy Eye
    Writer-director Tim Kirkman tries to peg depth of character on the character of Dean instead of having him earn it.
  46. Death Wish
    At a time when Americans are constantly bombarded with reports of unpunished police brutality, the film suggests that the true problem with justice in our country is that law enforcement isn't violent enough.
  47. Dark Crimes
    There’s a lot of sexual violence in the film, but it scans as unimaginatively repulsive, as well as blatantly misogynistic.
  48. Life Itself
    Despite its title, Life Itself doesn’t revel so much in the joys and travails of life as it does in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
  49. Cannibal Holocaust
    Even the most desensitized, ghoulishly amoral gleaners of deviant cinema can’t just stare down the nastiness on display in Cannibal Holocaust and just shrug it off.
  50. Jojo Rabbit
    Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.
  51. Trick
    Patrick Lussier’s film is an incompetent, nihilistic exercise in gore and pseudophilosophy.
  52. The Roads Not Taken
    The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
  53. Marry Me
    Marry Me plays out as the logical culmination of a multi-hyphenate icon’s indiscriminate commercial voracity.
  54. Midnight in the Switchgrass
    Randall Emmett’s directorial debut is virtually indistinguishable from the scores of cheap VOD action thrillers that he’s produced to date.
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