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. Abduction
    Odds are John Singleton doesn't know he's made one of the funniest films of the year.
  2. Texas Killing Fields
    Texas Killing Fields's mood is one of drowning in quicksand, though said atmosphere is the byproduct of both Ami Canaan Mann's often dreamy direction and an editorial structure that intermittently devolves into elliptical incongruity.
  3. London Boulevard
    A movie like this lives and dies by its finer details, and London Boulevard screws up by applying the same broad brush to its entire cast, meaning every character gets the same amount of shading.
  4. Butter
    It's the film's unwillingness to deal with the sometimes hilarious and often problematic things its characters say and do that stands as one of its ultimate failings.
  5. Jeff Who Lives at Home
    For the most part, this is a boys-will-be-boys movie that excuses everything its pair of protags do in the name of some sort of cosmic order.
  6. This Means War
    This Means War seems so concerned with being the best product, it doesn't even know how to be good trash.
    • 63 Metascore
    • 50 Critic Score
    Amigo
    Amigo finds John Sayles rather closer to his worst, alternating gracelessly between fleshing out the characters caught in the middle of international conflict and turning them into dots and arrows in a flowchart of historical relevance.
  8. Snow White and the Huntsman
    As feminist fantasy, the film is non-committal, and as a reimagining of the fairy tale, it's at best expensive-looking without seeming wantonly so.
  9. Old Cats
    Walks a fine line between empathetic treatment of its characters and voyeuristic freakshow gazing.
  10. Shark Night 3D
    It's refreshing to see Shark Night 3D director David R. Ellis try to pull off a semi-sincere second-generation "Jaws" rip-off, even if he doesn't quite succeed.
  11. Courageous
    Even the logos for the companies involved in its making (Sherwood Films and Affirm Films) and distribution (TriStar Pictures) scream that this will be a message from on high.
  12. The Vow
    Very fortunately, there's an alternate universe swirling in the eye of The Vow's synthetic storm, a place occupied only by Tatum and McAdams, where the link between them cuts down the filmmakers' bad instincts.
  13. Tyrannosaur
    The brutality of Tyrannosaur isn't so over the top as to make director Paddy Considine's sympathy for his flawed characters look like a sham. But it does frequently bring his film's seesawing exploration of blue-collar existence to the brink of collapse.
  14. Monsters University
    Unfortunate proof that the animation studio previously known for its brains is now resting a little too heavily on its nominal brawn.
    • 58 Metascore
    • 50 Critic Score
    Men in Black III
    More like an attempt to reenergize a franchise than rebottle the lightning that electrified the original.
    • 69 Metascore
    • 50 Critic Score
    Brave
    Pixar's latest ultimately offers nothing more than a caricature of a well-worn conceit.
  17. Mirror Mirror
    For all its pomp and fabulosity, Mirror Mirror is actually Tarsem Singh's most minimalistic effort, a dialed-down game board of elaborate pieces that's akin to the human chess set captained by Julia Robert's evil Queen Clementianna.
  18. My Afternoons with Margueritte
    Germain's bonhomie with the bistro regulars has the feel of a TV comedy pilot, which is more than can be said of the monologues he speaks to his cat, one on the inadequacies of the dictionary.
  19. Circumstance
    Since Mehran's embrace of hardline Islam is never dramatized or elaborated on in any insightful way.
  20. Project Nim
    To drive home the pathos of Nim's mistreatment, James Marsh frequently makes questionable use of the creature's apparent similarity to human beings, trading complex analysis for easy sentiment.
  21. Bride Flight
    It's all very tastefully handled by Ben Sombogaart, shot in plenty of staid compositions whose denuded color scheme suggests a historical remove, but it rarely generates any heat, even during a pair of graphic, but not particularly erotic sex scenes.
  22. The Devil's Double
    The film's first act is wholly concerned with the juxtaposition of physical similarities and ideological opposites, and Tamahori spends entire sequences upending the balance between the two.
  23. The Trip
    Steve Coogan and Rob Brydon's shtick - a relentless verbal sparring comprised of dueling impressions, poetry recitations, absurdist riffing, and comic one-upmanship - works best in small doses.
  24. Kidnapped
    Its scenario and criminals devoid of any representational depth, and without any substantial ideas underlying its carnage, the film ultimately just assumes the sadistically pragmatic POV of its one-dimensional thugs, pitilessly doling out brutality as a practical means to an end.
  25. Like Crazy
    Outside of Felicity Jones's work, the film, directed and co-written by Drake Doremus, usually feels like it's soullessly connecting dots, a far cry from the Before Sunrise-style substance its Yank-meets-Euro chattiness might suggest.
  26. The Whistleblower
    It reaches a peak of dramatic anguish in star Rachel Weisz's single moment of naked fury, rather than through the tenacity and compassion that define her crusading title character.
  27. Janie Jones
    First thing to get out of the way: No, David M. Rosenthal's third feature, Janie Jones, has nothing to do with the famous song by the same name that opens the Clash's self-titled 1977 debut album. Perhaps that might have made this film far more interesting film it is.
  28. American Reunion
    Funnier than its prior two predecessors, if gratingly awash in demographic-pandering late-'90s alt-rock hits ("Closing Time," "Freshman"), American Reunion flounders with its earnest melodrama.
  29. 3
    3 is a smidgeon film. Take a smidgeon of scientific/ethical discussion, throw in a pinch of dance/poetry/dream sequences, tie the whole thing up with split-screen montages and you no longer just have a film about a love triangle, but a Godardian objet d'art.
  30. Dark Shadows
    A mixed bag of Nixon-era pop burlesque and vampire kitsch is ultimately undone by pedestrian gags and bloated genre boilerplate.
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