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. Child of God
    James Franco's general aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
  2. How I Live Now
    There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
  3. The Unknown Known
    Viewers' tolerance for Errol Morris's apparent sheepishness will hinge on their prior appreciation of the filmmaker's investigative acumen.
  4. The Last Days on Mars
    The film's visual construction is spare, drawing power from its locations and quietly matted miniatures, though ultimately it succumbs to powering a series of cheap thrills.
  5. Dark Touch
    The film is beholden to a strange internal logic that gives primacy not to its protagonist's suffering, but to its maker's thirst for fun.
  6. Cinderella
    The filmmakers cut the film to emphasize the story's familiar plot points, rather than highlight any instances of personal visual artistry.
  7. Beauty and the Beast
    Christophe Gans’s telling of Beauty and the Beast abounds in impersonal and unsatisfying sumptuousness.
  8. Camille Claudel 1915
    Juliette Binoche's face, as we know, can tell a million stories in a simple and brief rearrangement of her facial muscles.
  9. Blood Brother
    Rocky's journey of self-realization undoubtedly has a universal resonance to it that intermittently yields poignant and inspiring moments. But where are the poor Indian kids in all of this?
  10. In the Name Of
    This Polish "gay priest tempted" drama is almost as confused about the moral quandaries of its characters as they are.
  11. Bettie Page Reveals All
    Mark Mori goes a bit overboard in hammering home his appreciation of Bettie Page's significance, allowing the film to occasionally lapse into repetitiveness.
  12. The Prime Ministers: The Pioneers
    The documentary is dressed to the nines in pomp and patriotism, which seems meant to hide the fact that the film offers very little in the way of valuable reporting or insider information.
  13. Gone Girl
    There's a comic streak to the film that suggests David Fincher may understand the material as trash, but it's the kind of affectation that only reinforces, rather than dulls, its insults.
  14. Endless Love
    Shana Feste's film seems blissfully unaware that great fights require truly substantial conflicts.
  15. Running from Crazy
    The modern-day sections with Mariel Hemingway, while detailing the redemptive promise of the title, too often come across as either indulgent time-filler or overflow with PSA-level superficiality.
  16. Beyond Outrage
    If Takeshi Kitano does go forward with the rumored third volume, hopefully he'll conceive of some fresh angle on this increasingly dry material.
  17. Go for Sisters
    LisaGay Hamilton and Yolonda Ross play persuasively embody modern urban feminine strength, but they're eventually stranded in a recycled road movie.
  18. It's Me, It's Me
    Alternating between self-consciously offbeat comedy and existential J-horror, It's Me, It's Me never quite satisfies in either mode.
    • 68 Metascore
    • 50 Critic Score
    My Name Is Nobody
    Part elegy for the Old West, part in-jokey celebration of the spaghetti western’s popular ascendance over classical Hollywood models, My Name Is Nobody plays like a deeply schizoid production, albeit an amiable enough one that manages several brilliant passages.
  20. The Adventurer: The Curse of the Midas Box
    The film gradually reveals a lot of unsavory motives, which ultimately deflate the buoyant virtues on which the film had blithely coasted.
  21. Caught in the Web
    The film opts for didactic resolution instead of fully committing to the contradictions in identity and agency its main character embodies.
  22. Free Ride
    Shana Betz's too-insistent refusal to commit to the melodramatic or to the suspenseful only makes the film seem like empty dramatization.
  23. The Punk Singer
    Sini Anderson's film may be another unimaginative fan letter, but at least Kathleen Hannah is worthy of such devotion.
  24. Insidious: Chapter 3
    In lieu of advancing a view of the dead's dominion that doesn't abide by the law of "just becauses," Chapter 3 is often content to wink at the ways the first two films spooked audiences.
  25. Dumb and Dumber To
    There's much more plot floating around during the sequel, all leading up to a climax at the "KEN Conference" that suffers in comparison to Silicon Valley's mockery of the same milieu.
  26. Jane Got a Gun
    It constantly blunders into stylistic choices and narrative clichés that sabotage the sturdy two-hander at its center.
  27. The Mummy
    Too much is at stake throughout, leading to formulaic plot filler and exposition that snuff out the spark of the early scenes.
  28. Cymbeline
    The source material, which is convoluted even by Shakespeare's narratively dexterous standards, is admittedly a tough nut for a filmmaker to crack.
  29. All the Light in the Sky
    In Joe Swanberg's disaffected little film, the drama is never explicit, or even fully conscious.
  30. The Divergent Series: Insurgent
    A Little Golden Book version of drastically simplified socialism accompanied with a healthy dose of warmongering bravado.
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