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. The Dead
    The Dead ultimately doesn't have much of a pulse, as it fails to transcend the banality of its inevitable theme.
    • 61 Metascore
    • 50 Critic Score
    Oka!
    As a film stupefied by its exotic setting, Oka! almost drops its walking stick of a plot as it wanders through the Central African Republic's jungle, getting blissed out on the sensuous delights of the surrounding wildlife and local Bayaka music.
  3. Boy
    Less concerned with rendering the specifics of its setting (a small Maori town on the New Zealand coast) than in calling on bouts of whimsy and superficial cultural signifiers to approximate the headspace of its central characters.
  4. 12 Years a Slave
    Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
  5. Pina
    Go after Pina and you're going to have to go through a mob of modern-dance zealots first.
  6. Cargo
    Cargo can feel like a "film about human trafficking" from beginning to end.
  7. Now You See Me
    There's nothing behind all this sturm und drang but a lineup of insubstantial ciphers, all false fronts and empty words in a pretend world not quite conducive to emotional investment.
  8. Broken City
    Allen Hughes may suggest an air of pretty menace, but he does little to make the sequence work as a legible genre scene.
  9. The Greening of Whitney Brown
    The first strike against the movie is that the awkward and diminutive Sammi Hanratty is never even slightly convincing as an enviable teenage diva, and surely not as the most popular girl in school.
  10. God's Fiddler: Jascha Heifetz
    If the film were in fact a pastry, it might look like the first effort of a blind baker, wildly uneven and inconsistent in ingredient distribution.
  11. 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.
  12. Knuckle
    A documentary of bareknuckle fights among feuding Irish Traveller clans can't give the participants' self-perpetuating, dead-end rivalry the scope of tragedy.
  13. The Forgiveness of Blood
    The film wisely avoids giving its material a large-scale epic quality it can't sustain, but it also results in a project that lacks the complexity to register as more than a handsome little sketch.
  14. The Greater Good
    The intersection between drug-company profiteering and lobbying, and governmental and private-sector desires to protect people from deadly diseases, is navigated too cursorily by the documentary.
  15. Romantics Anonymous
    A typically anodyne rom-com given a certain poignant piquancy by the paralyzing shyness of its romantic leads.
  16. Crazy Wisdom: The Life & Times of Chogyam Trungpa Rinpoche
    Part of the issue here may be the nature of the talking heads themselves, most of whom are culled from Trungpa's inner circle and lack the objectivity needed to properly judge his philosophy or make it accessible.
  17. The First Rasta
    While The First Rasta never goes beyond the surfaces of conventional documentary making of the most average kind, its reticence becomes whimsical every time the elderly interviewees break into song soon after reminiscing.
  18. Footnote
    Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.
  19. Sparkle
    Whitney Houston's death is just about the only thing that gives the film real, albeit mostly unintentional, life.
  20. Carol Channing: Larger Than Life
    A bubbly 90-year-old mascot from the golden days of the American musical, this doc's subject is certainly larger than the conventional testimonial treatment she's given.
  21. The Flowers of War
    This film has too many weak, unconnected strands (what's the subplot about the narrator's father doing here anyway?), too much overtly expositional dialogue, and too unfocused a narrative to really cohere. And then there's that whole matter of expendable whores.
  22. Codependent Lesbian Space Alien Seeks Same
    Madeleine Olnek has a limited repertoire of jokes, so it's fortunate that the film, at 76 minutes, is fairly amusing, even if it's never quite laugh-out-loud funny.
  23. Ultrasuede: In Search of Halston
    The tension between the amateurish interviewer and the star interviewees gives the documentary a layer of authenticity that its otherwise formulaic structure and storytelling fail to find.
  24. 4:44 Last Day on Earth
    It's only natural that Abel Ferrara's vision of the end of the world should take corporeal form as a quasi-autobiographical hangout movie.
  25. Chico & Rita
    A shallow romanticization of Batista-era Cuba -- when the nation was a tropical paradise for the delectation of American jetsetters -- and what the revolution left in its wake.
  26. The Front Line
    Both brutal and sentimental, this Oscar-submitted Korean war drama offers up rusty tropes as telling ironies.
  27. Goodbye First Love
    A poignant sense of time's unyielding forward progress and a mood of deep adolescent sorrow aren't enough to overshadow the insufferable blankness of Goodbye First Love's navel-gazing protagonists.
  28. Musical Chairs
    The schmaltzy and benign tale of a ballroom dancer who accepts and transcends her unexpected disability through the power of art and love.
  29. Chronicle
    Offers up little more than a tired morality play about the dangers of power, rehashing stale insights about the narcissism of the documentary impulse.
  30. Splinters
    Adam Pesce never condescends to any of his subjects, but good intentions alone don't make for a captivating movie.
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