Slant Magazine's Scores

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For 7,775 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 6.3 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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  1. Mr. Turner
    An astute summation of Mike Leigh's glum view of humanity, but also a challenge to this disposition and his own pessimistic perspective.
  2. My Old Lady
    Israel Horovitz's film is basically a three-character play without a single character you can believe in.
  3. At the Devil's Door
    An accumulation of dread in search of a properly fleshed-out screenplay to sustain it, the film plays like a show reel for writer-director Nicholas McCarthy's considerable craft.
  4. Bird People
    Pascale Ferran's film isn't daring enough to fully embrace the narrative fragmentation that it sporadically assumes.
  5. The Man on Her Mind
    The film suggests an ineffectual mishmash of Ruby Sparks-ish high concept and modern Elizabethan comedy.
  6. Honeymoon
    It waffles between dramatizing youthful self-absorption and succumbing to it, and this tonal instability comes to effectively mirror the domestic discord that's revealed to be its real subject.
  7. The Green Prince
    The proceedings have such a rigidly determined structure, amplified by chapter titles, that the power and conviction in their recountings deteriorate into a placid series of back-and-forths.
  8. Dolphin Tale 2
    Writer-director Charles Martin Smith's tin ear for dialogue and contrived symbolism is as unmistakable as his enormous heart.
  9. The Disappearance of Eleanor Rigby: Them
    The film abounds in excruciatingly obvious, often precious, articulations of grief, where armchair philosophizing volleys back and forth with punishing abandon.
  10. Rocks in My Pockets
    This inventive animated feature about depression and familial roots suggests NPR's "The Moth" storytelling series by way of Persepolis, mixing mesmerizing memoir monologue with whimsical animation.
  11. Wetlands
    For its general ludic obsession with all things generally thought of as disgusting, the German film Wetlands is stuck in the anal stage.
  12. The Blue Room
    The film abounds in guilt and grief, reveling in a general sense of hopelessly broken social connection.
  13. Last Days in Vietnam
    For American viewers who don't know, the doc will be a worthy footnote to a long bout of deliberate cultural amnesia, but it's too telling that the Vietnamese remain in the background.
  14. God Help the Girl
    Stuart Murdoch clearly knows quite a bit about crafting pop tunes, but the film's consideration of the work of songwriting is totally flippant.
  15. Life of Riley
    Alain Resnais's overpoweringly beautiful final film dares to push through the ghosts that inhabit the present, standing between the pessimism of an ill-spent past and the optimism of an undefined future.
  16. Gringo Trails
    Pegi Vail beautifully edited film somehow addresses a lot, but ultimately says nothing at all.
  17. Kelly & Cal
    A romantic drama complicated by a stroller and a wheelchair, and its first mistake is in assuming some kind of equity between the two vehicles.
  18. Clouds of Sils Maria
    The pleasure in watching the film becomes a linguistic one as Juliette Binoche and Kristen Stewart masterfully sharpen their words and hurl them at each other like projectiles out of a blowpipe.
  19. Frontera
    By turns abrasive and stately, sermonic and impartial, plot-heavy and meandering, often within seconds of each other.
  20. Memphis
    The film's music is the city itself as well as a subtle suggestion that Tim Sutton's own digital cinema is just as elusive and intangible as Willis's unwavering sense of dissatisfaction.
  21. Naked Opera
    A film that outwardly wants its depiction of class privilege to be ridiculing and farcical, but lacks the ability to express these critiques in lieu of the means of the class on the chopping block.
  22. The Identical
    The film's so preoccupied with being "inspirational" that it disastrously fails to evoke the allure of rock n' roll, particularly in America in the 1950s, when it represented an erosion of racial and sexual barriers.
  23. As Above, So Below
    The film predictably alternates in scaring its characters by tapping into their deepest fears and having them rub shoulders with the relics of a past that insists on being undisturbed.
  24. Life of Crime
    Down to its too-crisp rubber Nixon masks, Daniel Schechter's film revels in obnoxiously self-aware period detail.
  25. The November Man
    Roger Donaldson embellishes an already overly plotty scenario with hollowly attractive genre superfluities.
  26. Starred Up
    The cautious optimism with which it answers questions about rehabilitation and forgiveness is credible because the characters and setting feel so thoroughly authentic.
  27. The Naked Room
    By eschewing even basic B-roll footage, it ends up feeling even more stripped down than Frederick Wiseman's patient inquisitions, yet nearly as complex overall.
  28. The Damned
    From its first draw of blood onward, it bolts down a foreseeable slasher-movie trajectory, laying on thick the dramatic irony while constantly inventing new reasons to punish its characters for old iniquities.
  29. The Notebook
    János Szász's film is a thoroughly provocative WWII screed that almost deliberately goes out of its way to avoid sentimentality or bathos of any sort.
  30. Last Weekend
    The filmmakers are content to idealize everyone's unchecked narcissism and idle privilege--an inquiry-free recipe for disaster in an age when the American wealth gap is wider and more detrimental than ever.
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