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. Good Ol' Freda
    The documentary will prove fascinating only to the die-hard fans that Freda Kelly spent years writing to, though in this case that's no small number of people.
  2. Man of Tai Chi
    The film ultimately doesn't live up to this early potential, as Keanu Reeves loses his way in the third act with too many false climaxes.
  3. La Playa D.C.
    The film only feels interesting when it focuses on looking at what the characters aren't doing and listening to what they aren't saying.
  4. I Declare War
    The film rarely takes us past its rather obvious conclusions about the potential bestial nature of kids and how that may translate to the larger battlefields.
  5. Terraferma
    Its self-seriousness never allows it to become the realist counterpoint to Aki Kaurismäki's tragicomic approach in Le Havre that one initially hopes it will be.
  6. The Artist and the Model
    This safe, solemn tale of an aged artist whose vitality is briefly revived by a pretty young thing is unconvincing as an articulation of the potentially spiritual nature of the artist/model relationship.
  7. Romeo & Juliet
    Not even when the doomed Juliet reaches for Romeo's dagger do you feel a single vicarious pain in your gut.
  8. When Comedy Went to School
    It confuses nostalgia for earth-shaking cultural upheaval, never really expounding on the actual effect of the Borscht Belt circuit's influence.
  9. Belle
    The film is concerned largely with intellectual horrors and portrays the fight against slavery rather neatly as a growing feeling of internal guilt that slowly turns society toward the light.
  10. Linsanity
    The interpolations of "heavenly" sequences of Jeremy Lin playing basketball against CGI backdrops offer a hokey visual analogue for the intersection of faith and sports in his life.
  11. Parkland
    The Peter Landesman film's overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for...something.
  12. Paradise
    The film smartly avoids the sort of cynical hijinks that characterize the majority of Vegas-set flicks, though it can't come up with anything more compelling to place in its stead.
  13. A Teacher
    We're only allowed an insufficient glimpse of the anxiousness and curiosity that drive these creatures, a tactic which feels suspiciously like hesitance masquerading as enigma.
  14. Haunter
    Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats, at the expense of elaborating on his main character's growing feelings of isolation and torment.
  15. Off Label
    Sincerely angry about the crisis in polypharmacy, this narrative suffers from a documentarian form of A.D.D.
    • 72 Metascore
    • 50 Critic Score
    Zipper: Coney Island's Last Wild Ride
    Amy Nicholson's documentary feels warm and fuzzy about its subject, but at the same time depersonalized.
  17. Neighbors
    The promo materials implore viewers to vote either #TeamFrat or #TeamFamily on Twitter, though the audience is way more likely to be split between #TeamPecEfron and #TeamByrneBoobsplosion.
    • 70 Metascore
    • 50 Critic Score
    The Student
    If Santiago Mitre doesn't transcend the issues of the writer's film with quite the grace of A Separation, he nonetheless manages to make good use of a fine cast.
    • 60 Metascore
    • 50 Critic Score
    C.O.G.
    As an adaptation of Davis Sedaris's short essay from his acclaimed 1997 compilation, Naked, it's a letdown, as it doesn't exude the pop of the author's trademark humor.
  20. Wadjda
    It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
  21. Devil's Pass
    As Renny Harlin's career progresses, it seems more and more that his early gems were merely happy accidents.
  22. Il Futuro
    A counterproductively "literary" film with no satisfying payoffs, Rutger Hauer's blind recluse notwithstanding.
  23. Get On Up
    As if taking a cue from its own title, the movie emphatically sets its sights on the upward trajectory of Brown's career.
  24. All Is Bright
    All Is Bright remains engaging, for the most part, but most of the big narrative turns feel both predictable and forced, and at odds with the natural charms of the cast.
  25. Out in the Dark
    Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
  26. The Invisible Woman
    Ralph Fiennes's film feels not so much rooted in the past as it is mired in conventions about how to portray that past.
  27. Palo Alto
    It presents little that wasn't already done better in "Myth of the American Sleepover," an equally evocative tale of longing that was far more successful at matching teen tropes with atmospheric naturalism.
  28. Life of Crime
    Down to its too-crisp rubber Nixon masks, Daniel Schechter's film revels in obnoxiously self-aware period detail.
  29. Philomena
    A human-interest story that claims spite for human-interest stories, the film has some pretty divisive issues at its core that leave it torn between contrasting approaches.
  30. The Green Inferno
    The savagery here is rooted in retrograde myths that might have been easier to stomach had the cannibalism been positioned as a fantastical unleashing of retribution.
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