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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    • 38 Metascore
    • 50 Critic Score
    Goats
    Christopher Neil's film is more location-scouted and photographed than directed and acted.
  2. Gypsy
    A Slovakian character study of a boy ambivalently caught between worlds that ultimately squanders its promise.
  3. Ponies
    Never distinguishes itself as engaging cinema apart from the main character's vile charisma and a few dynamic dialogue sequences.
    • 76 Metascore
    • 50 Critic Score
    Hara-Kiri: Death of a Samurai
    Takashi Miike lets his familiar tastelessness get the better of him, relishing the grisly seppuku-by-bamboo in unnecessary detail.
  5. Shut Up and Play the Hits
    James Murphy never says that his music will sound different after LCD Soundsystem disbands, so why fearfully anticipate a change that we don't even know is coming?
  6. The Man with the Iron Fists
    The chop-socky wire-fu scenes are beautifully choreographed, but pretty crudely edited; despite its gourmet neo-grindhouse trappings, the film won't bring the heat like you've never seen before.
  7. Stoker
    The film's weird mix of dollhouse dread and fashion-magazine chic can be fetching, but it's nothing if not vacuous, a series of disjointed, improvisatory riffs that recall the brazen aesthetic overload of Amer.
  8. Jayne Mansfield's Car
    Billy Bob Thornton's ensemble Southern family dramedy fails to subvert its cutesy formula often enough.
  9. Runner Runner
    The ultimately forgettable Runner Runner is, for a gambling film, markedly risk-averse.
  10. The Conjuring
    Though The Conjuring claims to be based on a true story, in truth it's based on every horror film that's come before it.
  11. The Paperboy
    The Paperboy deserves to be seen for its pulpy, well-executed excess, but as a filmmaker, Lee Daniels seems ignorant of how the shocks distract from the story.
  12. Nobody Walks
    The whole thing comes out feeling kind of featureless, beaten flat by its own sense of fairness.
    • 67 Metascore
    • 50 Critic Score
    The Green Wave
    Unlike Waltz with Bashir, it only seems to be using animation in an effort to make blog diaries by twentysomethings appear cinematic.
  14. This Time
    Documentary director Victor Magnatti is more comfortable with loud and proud, and perhaps a tad suspicious of insinuation and circumspection.
  15. The Matchmaker
    The film ultimately fails to treat history as anything but a string of melodramatic reference points for moody characters haplessly trying to find love.
  16. 2 Guns
    Viewer/character solidarity only holds up for so long, and the film falls hard into twisty, nonsense territory, skipping over its stronger themes in the process.
  17. The Other Dream Team
    Made with considerable reverence, but it doesn't quite manage to tow a tricky tonal line that's required when working with such sensitive and complicated material.
  18. The Revenant
    Since Bart's bloodlust is never matched in tenor by his righteousness, the story remains rife with unfulfilled moral inquiry.
  19. 10 Years
    If nothing else, 10 Years is hip to the fleeting, fundamental joys of revisiting one's youth.
  20. Smashed
    Smashed touches on the awkward perversity that often comes from seemingly pure emotions and intentions, and turns a noticeable, if slightly analytical, eye toward the selfish hurt and narcissistic projections inflicted by the perceived moral hierarchy against recovering addicts.
  21. A Royal Affair
    The film is too tepid in its treatment of its central character and her situation to generate any real emotive charge.
    • 58 Metascore
    • 50 Critic Score
    Universal Soldier: Day of Reckoning
    Like a stiff Schwarzeneggerian conqueror making good on an "I'll be back," John Hyams returns to one-up the franchise again.
    • 95 Metascore
    • 50 Critic Score
    Amour
    This isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years.
  24. A Late Quartet
    A muted soap opera masquerading as erudite ensemble piece, Yaron Zilberman's A Late Quartet jettisons character plausibility in favor of pop psychology and leaden instrument analogies.
  25. Minions
    It's a buzzkill to enter the world of Minions primed for a tidal wave of gibberish-talking lemmings to tear the roof off, only to see them once again led astray by the ordinariness of human affairs.
  26. Breathing
    Can a film be faulted for being too sympathetic toward its characters, for limning a milieu with extraneous humanism?
  27. The Ambassador
    Bothing is pointedly outlandish in Mads Brügger's latest, a fact that represents its triumphs and burdens.
  28. Head Games
    While Steve James's documentary is persuasive on an informational level, it doesn't do enough to explore the human side of its subject matter.
  29. The To Do List
    Essentially the film aims to trade in the awkwardness of teen sexuality, but too often settles for the gross-out gag instead.
  30. Detropia
    Seems to be looking for answers, but the ones it finds are too close to the surface to be satisfying.
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