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. Just a Sigh
    When Jérôme Bonnell allows his two magnificent leads to work at the sparse dialogue, he invokes a powerful, elemental sense of frank, sexual discussion and high-end flirtation, imbuing the relationships with a maturity that's loathsomely rare in films today.
  2. It Felt Like Love
    Eliza Hittman's film captures the exclusive properties of sex with a degree of intimacy and empathy that, at times, feels authentically revelatory.
  3. Buzzard
    This is a study of a man who's hard to like, harder to dismiss, and impossible to pigeonhole.
  4. Salvo
    The filmmakers' very particular sense of lighting and framing, though handsome, often exudes a formality that perpetually stifles the story's sense of spontaneity.
    • 64 Metascore
    • 75 Critic Score
    Nymphomaniac: Volume I
    But whereas female sexuality was borderline vampiric in Antichrist, this time we're in more ambiguous, contextually richer terrain, where desire is complicated not only by love, but also by a deep need for self-determination, and pride.
  6. Teenage
    It botches itself out of its own epic ambitions, an aesthetic slickness that seems to contradict, if not betray, its subject matter, and a maddeningly subdued critical spirit.
  7. The Double
    Whatever the film's interest may be in the marginalized, writer-director Richard Ayoade never alludes to what would even be worth fighting for in this nightmarish industrial landscape.
  8. Veronica Mars
    For all its references to the show's history, the film never panders. It's an evolution of the core concept as opposed to a nostalgia-tinged reproduction, and is all the better for it.
    • 30 Metascore
    • 12 Critic Score
    The Right Kind of Wrong
    The film is so in love with its unoriginal premise that it can't see the forest for the trees, treating reality like an occasionally relevant prop and stalking as a sweetly romantic gesture.
    • 83 Metascore
    • 63 Critic Score
    20,000 Days on Earth
    While the film is seemingly accessible as a portrait of an artist who seems particularly attuned to his own creative process, and particularly adept at describing this attunement, it's unlikely that many who aren't already whole-hog Bad Seeds fans would be able to stomach much of Cave's self-styled pomposity.
  11. Dark House
    The film's dialogue is knowing and the action sequences are elaborate, but not only in ways that advance the shady story toward its hokey denouement.
  12. Need For Speed
    Even when compared to other films posing as Ford Mustang commercials, Need for Speed isn't particularly memorable for anything other than the startling incompetence and dull sheen of the end result.
  13. Himizu
    Sion Sono's film is a vision of coming of age as trial by fire, a thunderous encapsulation of that period of transition in which adolescents try to discover themselves: their passions, their purpose, their sense of morality.
  14. Exposed
    Beyond the forthright identity politics and titillating theatrical misdemeanors, one still comes away wondering about the things that remain concealed.
  15. The Art of the Steal
    An energetic but paper-thin genre exercise, filled with pleasant riffs on the standard heist flick, but ultimately lacking in payoff.
  16. Enemy
    Jake Gyllenhaal embodies the two roles with real presence, establishing Adam's sniveling wimp and Anthony's striding jerk as two believably discrete sides of the same coin.
  17. Guilty of Romance
    Though it begins with the aesthetic and conceptual rigor of Blade Runner, it quickly veers toward the gratuitous outlandishness of a Bruce La Bruce film.
  18. Better Living Through Chemistry
    A sexily chaotic parody of entitlement becomes just another tale of a white dude learning that there are worse things in life than essentially having no problems.
  19. The Strange Color of Your Body's Tears
    One can never fully shake the feeling that the sense of unease the filmmakers rouse, every act of seduction, infiltration, and vengeance they orchestrate, is borrowed.
  20. The Den
    The film is dizzyingly creepy in its refracting of horrors through the cascading windows of computer programs we've come to understand more intimately than our own selves.
  21. Bad Words
    The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
  22. Big Men
    No one corporation or person plans to trample over the wellbeing of the Ghanaian people, but as the story of the development progress, the breadth of Rachel Boynton's research shows how it will occur regardless.
  23. Mr. Peabody & Sherman
    The film spent roughly a dozen years in development, and the moronic, corporate detritus from that long time warp is strewn about like so many improbable history lessons.
  24. Honey
    Driven by a no-nonsense ethos, the film avoids sentimentality the same way its main character avoids sentiment.
  25. 300: Rise of an Empire
    Noam Murro gives the film nothing so much as a hit-refresh on the same glistening, impossibly golden and gray flecks of pixel-barf that have invaded the frames of every tent-pole studio release since the Bush administration.
  26. Particle Fever
    The film may not put itself above the uninitiated, but director Mark Levinson oftentimes appears almost too eager to present his material with affectation.
  27. Special ID
    The audience becomes conditioned to expect the action a few moves before the film makes them, which quickly renders the story tedious.
  28. The Face of Love
    An almost offensively "tasteful" dud that remains irritatingly on the surface, more alive to the set design than the characters' motivations.
  29. Interior. Leather Bar.
    With Travis Mathews's help, James Franco's persona forms a kind of symmetry: 1980's dubious homophobia against 2013's risible homophilia.
  30. The Island of St. Matthews
    It gives us a series of images that, free from definitive context, form a new reality of their own, a small composite portrait of previously untold stories.
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