Slant Magazine's Scores

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For 7,792 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 6.2 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: 4,362 out of 7792
  2. Mixed: 1,496 out of 7792
  3. Negative: 1,934 out of 7792
7792 movie reviews
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  1. My Blueberry Nights
    Every shot is painstakingly thought out, but less emphasis is placed on the human face than on the surfaces that reflect it and the objects that obscure it, and the overall effect is close to that of fetish art.
  2. Quantum of Solace
    Updating this anachronistic cash cow with the scrappy and sexy Craig still looks like a wise move, but it requires a greater quantum of style than Solace provides.
  3. Ali
    Ali‘s narrative laxness comes at the fault of boxing time (a good one-third of the film’s three-hour time span is spent inside the ring). You say: But Mann knows how to direct a fight. But I say: So what?
  4. King Arthur
    Revisionist mythmaking of the most bland variety, the Jerry Bruckheimer produced King Arthur purports to tell the true tale of the ancient British hero and his valiant Knights of the Round Table by stripping away the magic, mystery, and majesty of the fable and replacing it with grim n' grimy realism.
  5. Dawn of the Dead
    This new Dawn of the Dead doesn't stop to take a breath, and remains frequently scary and engaging in the moment without leaving much to chew on afterward.
  6. Ghost in the Shell 2: Innocence
    Oshii’s attention to detail is ravishing and his distractions of time and space evoke what it must be like to be trapped within the confines of M.C. Escher’s “Sky and Water.” Pity then that Innocence is so impenetrable, both aesthetically and philosophically.
  7. Halloween II (2009)
    Treading well-worn ground to diminishingly creepy returns is a bone-deep problem for Zombie’s latest, especially with regard to his characters.
  8. The Happy Poet
    Like its sad-sack main character, whose closed-off personality makes him hard to fully understand or sympathize with, The Happy Poet is too reservedly rough around the edges.
  9. The Magician
    The Magician might have worked better if it could have sustained for its first several sequences a sense of genre confusion.
  10. Every Day
    Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them.
  11. Nobody Else But You (Poupoupidou)
    While Nobody Else But You aspires to a kind of French Fargo, it forgets the primary qualities that made that film work.
  12. Haywire
    If anything, Haywire is most closely linked to last year's "Contagion," a kindred effort in style, theme, and value-marring detachment.
  13. Kung Fu Panda 2
    Exquisite looking but substantially hollow.
  14. Super 8
    J.J. Abrams's latest puts a modern spin on classical material, though here reinvention isn't the goal so much as slavish duplication embellished with muscular CG effects.
  15. Green Lantern
    Martin Campbell, though a capable director of action (Hal's training session with the Michael Clarke Duncan-voiced Kilowog is proof of that), doesn't have a poet's instincts.
    • 73 Metascore
    • 50 Critic Score
    Mission: Impossible - Ghost Protocol
    The Mission: Impossible franchise seems almost crudely mercenary in its formula for success.
  17. The Amazing Spider-Man
    No mutation is necessary to clearly see that Marvel's "reboot" of their signature franchise is an unimaginative remake of Sam Raimi's 2002 Spider-Man.
  18. 6 Souls
    The film belongs to a long tradition of horror films that offensively suggest that all atheists might as well hang a Welcome sign up for the devil.
  19. Monte Carlo
    Mistaken-identity shenanigans and gooey romance are Monte Carlo's prime commodities.
  20. Crazy, Stupid, Love
    This schizophrenic conception of Gosling's character is indicative of the film's largely dichotomous view of romantic relationships.
  21. The Change-Up
    Yet as is so often the case with the frat-boy genre to which this film panders, so many gags feel like desperate, self-conscious attempts to be outrageous that the effect of its abundant cursing and boob shots is more depressing than delirious.
  22. Moneyball
    True to Hollywood's tireless efforts to fit square-peg material into roundish genre niches, this wavering, intermittently smart story of daring to think differently flattens its narrative into formula.
  23. Puss in Boots
    For all the fuss, it dissolves almost immediately upon contact.
  24. The Rum Diary
    The Rum Diary, Bruce Robinson's amorphous hodgepodge of a film, wants to be many things: period recreation, social commentary, morality play, romance, an insider look at the newspaper game.
  25. War Horse
    What ultimately hobbles War Horse is a two-pronged attack, with Spielberg's soft-sell producing an unfortunately dramatic flatness in almost every scene, while an 11th-hour scramble for picture-book catharsis doesn't seem to work either.
  26. Rise of the Planet of the Apes
    Like the film that constrains him, a prequel to Planet of the Apes, perhaps James Franco understands his performance as something that will one day evolve into something far greater.
  27. The Thing
    You can tell a lot about the film from its rough handling of the materials supplied by its predecessor, using these commonalities both to identify the bond between the two and signal how much further it's willing to push things.
  28. Melancholia
    The poetic, referential succession of near-still images that opens the film so immaculately distills Melancholia's moody narrative and themes that it makes the two-hours-plus that follow seem impossibly redundant.
  29. On the Road
    The lack of a strong expository voice further simplifies the wealth of explicit sex Walter Salles dramatizes, much of it drawn from juicy swathes of Jack Kerouac's only recently published original scroll.
  30. In Time
    Justin Timberlake can't elevate what amounts to relatively simplistic, formulaic material, but his headlining turn exhibits sufficient charisma and wit to make In Time a passably diverting action-packed waste of time.
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