Slant Magazine's Scores

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For 7,778 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: 4,352 out of 7778
  2. Mixed: 1,493 out of 7778
  3. Negative: 1,933 out of 7778
7778 movie reviews
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    • 63 Metascore
    • 50 Critic Score
    Violeta Went to Heaven
    Suffers from an overtly conventional way of depicting the life events of an anything-but-conventional woman, a lazy flaw further highlighted by its brief moments of visual experimentation.
  2. Atomic Blonde
    The tediously forestalled twists suck away time from what should be the film's focus—its action—and leaves only two scenes worthy of celebration.
  3. I'm Your Woman
    Julia Hart drains the crime film genre of its macho bluster without replacing it with anything.
  4. Andre Gregory: Before and After Dinner
    Perhaps the most valuable insight that the film provides about its subject is that he acts even as he directs.
  5. Anna Karenina
    The film contains far more passion and a tad more complexity than the dominant and typically more staid model of middlebrow costume drama.
  6. Perfect Strangers (Perfectos Desconocidos)
    Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement.
  7. Friends with Benefits
    For a film that had once made some pretense toward exposing such dangerously submissive attitudes toward Hollywood romance, Friends with Benefits's conclusion can't help but seem more than a wee bit disingenuous.
  8. Polytechnique
    Though it's as schematic in construction as Incendies, the film doesn't grind along to a ponderous plot; it's unnerving abstraction of its subject matter more daringly relays Villeneuve's view of the human cost of gender warfare.
  9. My Reincarnation
    My Reincarnation has an effective bifurcated structure that testifies to the level of trust Jennifer Fox clearly established with her subjects.
  10. First Winter
    The film's interests are mainly relegated to wallowing in the frigid-starvation-suffering of its protagonists.
  11. That Guy Dick Miller
    A fawning tribute to the cult legend, enriched by a subtle current of sadness that prevents the documentary from turning into a glorified DVD supplement.
  12. Gaga: Five Foot Two
    Far from seeming like a strategic element created to define Lady Gaga's reinvention, the documentary instead feels like a natural outgrowth of it.
  13. Human Capital
    Paolo Virzì's Human Capital gives the tired trope of cutting between overlapping stories a welcome shot of adrenaline, using it not just to compare and contrast tangentially related stories, but to show how people caught up in their private dramas can overlook or misinterpret the people around them.
  14. 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.
  15. Whitewash
    The film benefits greatly from this bait-and-switch narrative design, as Hoss-Desmarais dials down or otherwise forgoes exposition, backstory, and character development in favor of an ambiguous, almost ethereal dramaturgical approach.
  16. The Hunter
    The film refuses to focus on its core story, hedging its bets with forays into family drama, environmental thriller, and corporate intrigue.
  17. 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.
    • 63 Metascore
    • 25 Critic Score
    Les Miserables
    One would be hard-pressed to describe this, despite the wealth of beauty on display, as anything but an ugly film, shot and cut ineptly.
  19. Your Monster
    Melissa Barrera’s Laura may be full of rage, but the kind of monster she is doesn’t line up with where her rage leads her.
  20. Simon Killer
    The film has many elements of a thriller, but ultimately Antonio Campos's interest lies much more in profiling, yet never over-determining, his moody protagonist.
  21. Knock at the Cabin
    The film takes its time delving into its characters' headspaces, to the point that it becomes less of a thriller than an unorthodox character study, especially as its expertly deployed use of flashback slowly forms the emotional core of the story.
  22. Cyber-Seniors
    The film is too standard-issue in its making to probe beyond the rough outlines of a success story.
  23. Accidental Courtesy: Daryl Davis, Race & America
    The film is a debater with some interesting points to make but no overall argument to contain them.
    • 63 Metascore
    • 75 Critic Score
    Klitschko
    Smartly, Sebastian Dehnhardt's film eschews hype and goes far beyond mere talk, shows as well as tells, by including fascinatingly instructive slow- mo shots of both men's fights to highlight the differences between the brawny duo, often mistaken for identical twins.
  25. Kiss of the Spider Woman
    For a musical so dedicated to celebrating and critiquing the transformative potential of cinematic fantasy, Bill Condon’s Kiss of the Spider Woman brings relatively little of the kind of overwhelming star power that can truly transport audiences.
  26. Rob the Mob
    For the most part, it's a gas, but the light touch Raymond De Felitta gives the material is at once its saving grace and its tremendous limiter.
  27. Eames: The Architect & The Painter
    Structurally lopsided, the narrative jumps directly into the success of their first molded-plywood chair, and meanders from there into the numerous short films the Eames Studio made for government agencies and IT companies.
  28. Winter Brothers
    If nothing else, the film is a feat of formal conception and craftsmanship.
  29. Rocky Balboa
    Stallone yearns to investigate the loneliness of a man who can’t get over the past, an endeavor which entails unwieldy speeches (delivered by the actor in his patented “yews guys” patois) and reflective shots of the city’s skyline.
  30. Jimmy's Hall
    Ken Loach's staging is so calm and sober that it turns his story into an expertly photographed yet weirdly remote rebellion tale.
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