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. Here
    While everything here is mostly unspoken, and the film itself hints at a broader set of concerns than simply two lost souls meeting on foreign ground, Here too often feels like a jumble of ideas that don't quite cohere.
  2. Oki's Movie
    Hong Sang-soo once again corroborates auteurist theory at the same time that he reveals the potential shortcomings of its practice.
  3. Noah
    Once the money shots of Darren Aronofsky's version recede, it becomes ever more clear that his intention is to tackle the capriciousness of Old Testament logic. And, ultimately, to assent to it.
    • 51 Metascore
    • 50 Critic Score
    96 Minutes
    Director Aimee Lagos seems to be at odds with her own film, like a well-meaning but controlling parent hell-bent on choosing a child's college, major, and fraternity for them.
  5. Citizen Gangster
    Its commentary on our fascination with law-breakers is virtually nonexistent, except to the extent that the film itself revels in the doomed romanticism of its own protagonist.
  6. Joffrey: Mavericks of American Dance
    While the documentary offers us a story that needs to be told, it does so in very non-Joffrey ways.
    • 67 Metascore
    • 50 Critic Score
    Inventing Our Life: The Kibbutz Experiment
    While very informative, it doesn't work as an introduction to kibbutzim because it requires the viewer to have some prior knowledge of the history of Israel.
  8. Last Call at the Oasis
    Both an informative bit of agitprop and an ultra slick and slightly self-satisfied bit of entertainment.
    • 46 Metascore
    • 50 Critic Score
    The Broken Tower
    It’s tonally flat and a little too impressed with its own elliptical construction. Yet there’s something about Franco’s desire to escape the straitjacket of the biopic’s pat psychologizing and greatest-hits structure that makes his film feel at least honest in its missteps.
  10. 42
    The film elevates the story of Jackie Robinson to that of cornball legend rather than just honoring his legitimately uplifting, heroic saga by telling it straight.
  11. This Is the End
    It's disheartening that, despite some half-hearted overtures toward shifting the comedy paradigm, the filmmakers make little attempt to expand their comedic palette.
  12. Where Do We Go Now?
    Nadine Labaki's film awkwardly hybridizes somber politizized drama with regional humor in the style of "Waking Ned Devine" and "Calendar Girls."
  13. A Bag of Hammers
    Suffers from both an odd, ineffective structure and a low-key tone that jars uncomfortably with the subject matter and makes the film's stakes seem unnecessary low.
  14. The Good Dinosaur
    The main character is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency.
  15. Beloved
    Ultimately crammed at a frustrating juncture between period-piece froth and seriously conceived drama, never tipping its hand toward either.
  16. You Are Here
    Some will find the film compelling, but underneath the riddles it's basically a self-important proclamation of "who the hell knows?"
  17. Pitch Perfect
    Jason Moore's film is more or less successful in inverse proportion to the degree that it plays its material by the book.
    • 42 Metascore
    • 50 Critic Score
    Crooked Arrows
    Although it adheres to the tried-and-true sports-movie formula of an underdog team striving to overcome their limitations to become winners, Crooked Arrows lacks captivating emotional momentum.
  19. 6 Month Rule
    The film is far too indulgent with its lead character to do more than hint at the ways that one form of male egotism can morph into another.
  20. Richard's Wedding
    In the director's preference for above-it-all contempt over tough-minded empathy, the film ends up seeming little more than an 89-minute hatefest.
  21. Union Square
    Nancy Savoca's film begins in caricature and ends in sentimentality, only briefly hitting the sweet spot in between.
  22. X-Men: Days of Future Past
    It only conveys the awesome strangeness of its characters and their universe when director Brian Singer breaks away from the perpetual build-up of the film's unwieldy plot.
  23. Patagonia Rising
    Director Brian Lilla alternates between talking heads and animated graphics to elucidate first how dams work and, obligatorily, to put a human face on those who would be affected.
  24. The Girl from the Naked Eye
    The Girl from the Naked Eye has heart, which is more than can be said of some other recent genre throwbacks, but it ultimately makes barely a splash.
  25. Évocateur: The Morton Downey Jr. Movie
    Inflammatory talk-show host Morton Downey Jr. sparked, delighted, and quickly faded like a firecracker--not unlike the erratic, quick-fire presentation of his persona in this documentary.
    • 62 Metascore
    • 50 Critic Score
    A Burning Hot Summer
    The Louis Garrel character's mixture of self-containment and alleged possessiveness over his wife fails to convince, if not to irritate.
  27. About Cherry
    The lack of plausible conflict mars the movie's highly commendable depiction of San Francisco as a the new porn capital.
    • 57 Metascore
    • 50 Critic Score
    It's a Disaster
    The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters' existential or psychological crises.
  29. Ordinary Miracles: The Photo League's New York
    Nina Rosenblum's love letter never attains that essence of ambiguity that makes the best nonfiction films live on after the credits fade.
    • 60 Metascore
    • 50 Critic Score
    Men on the Bridge
    If director Asli Özge has said something about modern-day Istanbul, she's done it in fairly broad strokes that may be too far apart for the sake of a discernible narrative.
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