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 Bling Ring
    Sofia Coppola seems curiously unmotivated to bring full analysis or provocation to her themes, leaving the film feeling like a disappointingly toothless satire.
  2. The Wolf of Wall Street
    Martin Scorsese's keyed-up, irreverent tone frequently fails to distinguish itself from the grunting arias sung by the oily paragons of commerce his film evidently intended to deflate.
  3. Erased
    The film seldom pushes beyond the bare-minimum dictates of the thriller, only rarely offering up a memorable action sequence.
  4. The Angels' Share
    Ken Loach's breezy scribble about lowlife redemption and drunken buffoonery isn't so much heavy-handed as it is charmingly weightless.
  5. Populaire
    Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
  6. Black Nativity
    For anyone who prefers their assertive homilies to crust over like a syrupy sweet, this loose adaptation of Langston Hughes's beloved holiday tradition will come on like a dream fulfilled.
  7. If I Were You
    A wannabe French-style infidelity farce that keeps indulging in unnecessary bathos and subplots.
    • 49 Metascore
    • 50 Critic Score
    Everybody Has a Plan
    Ana Piterbarg's handsome, if uninvolving, film privileges mood over narrative and dumb brooding over character.
  9. You Don't Need Feet to Dance
    Despite its title, there's actually very little dancing, or rhythmic flair, in You Don't Need Feet to Dance.
    • 63 Metascore
    • 50 Critic Score
    Violeta Went to Heaven
    Suffers from an overtly conventional way of depicting the life events of an anything-but-conventional woman, a lazy flaw further highlighted by its brief moments of visual experimentation.
  11. Interstellar
    Much like his hero, Christopher Nolan's goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
  12. The English Teacher
    This is the second recent release—after The Great Gatsby, whose overwrought, on-screen text it even shares—that aims to channel great, time-honored storytelling without being able to tell a great story.
  13. Dorfman in Love
    The film's moral lesson is too contradictory to be taken seriously.
    • 58 Metascore
    • 50 Critic Score
    New World
    This is action-thriller feather preening, but all the wit in the world can't hide the narrative sprawl that rots from within.
  15. The Wall
    We may find out how Gedeck's character reacts to her isolation, but we're never privy to her actual feelings, largely because in a film about a sudden onset of solitude, Pölsler is far too afraid of silence.
    • 60 Metascore
    • 50 Critic Score
    Love Is All You Need
    At times it seems as if Susanne Bier set out to create some kind of absurdist comedy, but lost her nerve somewhere along the way.
  17. Stuck in Love
    The movie aims for an admirable balance, but fatally upsets that equilibrium in its hurried resolutions.
  18. Detour
    In comparison to its superior predecessors, the film's redemption plot feels banal and slight.
  19. Code of the West
    The filmmaker's failure of empathy for those who strive to outlaw medicinal marijuana turns the protestors into hissable puritanical bad guys.
  20. Free Angela & All Political Prisoners
    It foists its own retelling of Angela Davis's story over any contemplation of her politics, effectively neutering their power as it could apply to today in the hands of a proper film essayist.
  21. Tai Chi Hero
    Stephen Fung's pop-up graphics and jazzy fight scenes feel part of an unwieldy mix in which the director just throws whatever half-baked conceits up on the screen he feels like.
  22. Greetings from Tim Buckley
    Despite the counter-culture subjects at its core, Daniel Algrant's film possesses a put-upon hipness that cannot mask its disarming dorkiness.
  23. Venus and Serena
    Opting for inspiration over insight, Venus and Serena is a starry-eyed pop documentary that cannot transcend its scattershot, for-fans-only filmmaking.
    • 57 Metascore
    • 50 Critic Score
    Eddie: The Sleepwalking Cannibal
    Because the film clearly aims for satire, Boris Rodriguez isn't entirely guilty of indulging gruesome spectacle for its own sake.
  25. Antiviral
    A one-joke movie--a good joke, yes, but Brandon Cronenberg's agenda clouds the clarity that's needed to fully deliver the punchline.
  26. Java Heat
    A middling genre movie, but it's oddly likable for its conflicted, unresolved tension.
  27. Fists of Legend
    The film is so generous in its characterizations that it's easy to overlook the fact that its hot-topic drama (bullying, economic marginalization, etc.) amounts to little more than padded lip service.
    • 36 Metascore
    • 50 Critic Score
    The Hot Flashes
    Seidelman's attempts to provide positive, alternative representations of marginalized people and problems is overly ambitious.
  29. Thérèse
    Claude Miller's swan song not only shares its main character's name but also her tempered disposition.
  30. 22 Jump Street
    As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it's a tiresome sequel doesn't save it from being a tiresome sequel, even as Lord and Miller struggle to conceal the bitter pill of convention in the sweet tapioca pudding of wall-to-wall jokes.
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