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. The New Rijksmuseum
    It most potently strikes the tone of an elegy, pensively observing that beneath the bickering in museum boardrooms lies a massive treasure trove of art history that's being kept from the public's eye.
  2. August: Osage County
    What works about the film can largely be attributed to the original text, which is full of cruel twists and savage blows that Tracy Letts wisely retains for the screen.
  3. Anchorman 2: The Legend Continues
    The film's half-hearted plea for responsibility and ethics in the news, after joyfully rolling around in its corruption for the majority of its runtime, smacks of plain pandering.
  4. 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.
  5. Paradise: Hope
    The third and final film in Ulrich Seidl's "Paradise" trilogy navigates a narrow space between tenderness and cruelty.
  6. The Selfish Giant
    The ear for language is paired with an eye for the landscape, and the film finds beauty even in such a seemingly dreary, economically depressed community.
  7. The Past
    Farhadi navigates his complicated narrative thicket with an apparent ease that confirms yet again that he's an amazing talent, but here he isn't able to blend the brushstrokes as he has in prior films.
  8. Some Velvet Morning
    To watch the film is to wonder once again why Neil LaBute was ever taken seriously as a so-called dramatist of the gulf between the sexes.
  9. Liv & Ingmar
    The documentary not only humanizes Ingmar Bergman as the absent lover-cum-father of everyday life, but works as a priceless oral history of cinema.
  10. Lone Survivor
    Like his prior "The Kingdom," Peter Berg's film pretends to dabble in a frothy moral ambiguity, swiftly betraying its true aims with trigger-happy jingoism.
  11. The Unbelievers
    It ably captures the provocative open forums that Richard Dawkins and Lawrence Krauss conduct, but its uneven nature occasionally dulls the effect of these intellectually stimulating conversations.
  12. Big Bad Wolves
    From a purely suspenseful vantage point, Big Bad Wolves is an efficient and effective beast.
  13. Here Comes the Devil
    The film is eventually revealed as less interested in subverting or playing off its influences than rigorously retracing them.
  14. Hours
    The film's fealty to history is both unnecessary and a hindrance, pulling us out of a story that could have easily been set in an anonymous city hit by a nondescript hurricane.
  15. Tricked: The Documentary
    For all the heartbreaking depth with which the filmmakers explore the horrors of human trafficking, the film still leaves one with a sense of a larger story just beyond their grasp.
  16. Trap for Cinderella
    Ian Softley is far too interested in the minutia of the plot to bother with the Chabrolian elements of bourgeois excess or the Hitchcockian themes of mistaken identity.
  17. The Crash Reel
    It compellingly captures a family wrestling mightily with the riddles and contradictions of a culture that promotes achievement at all costs with little thought as to what that actually means.
  18. 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.
  19. The Hobbit: The Desolation of Smaug
    A once-precious franchise's weakest installment, which forgets these adventures' magic was never conjured by bells and whistles.
  20. Saving Mr. Banks
    A tale of memory and redemption that does little to linger in the mind and even less to decry P.L. Travers's claim that Disney turns everything it touches into schmaltz.
  21. Twice Born
    Sergio Castellitto's film quickly turns out to be more interested in reveling in the secrets of its storyline than in its sentiments.
  22. Night Train to Lisbon
    Bille August's film is a protracted, soporific trip into Portuguese history that would like to be a romantic thriller.
  23. American Hustle
    Formally ostentatious and unrepentantly messy, the film manages to implicitly convey the overdriven, coked-up confusion that many '70s period pieces make painfully overt.
  24. Out of the Furnace
    What this movie finally boils down to is a deceptively simple tale of two brothers, and of being one's brother's keeper, and of seeking justice on the crudest of fronts.
  25. Ernest & Célestine
    It's in the way the film refuses to characterize its central friendship solely on the grounds of common isolation that becomes its most endearing quality.
    • 25 Metascore
    • 38 Critic Score
    Merry Christmas
    The conceit has the potential to be amusing, but the role-playing is never as funny or immersive as it could be, and the characters' repartee often feels more stilted than witty.
  27. White Reindeer
    What's dark and weird about Zach Clark's film is also what's tangible, authentic, and wise about it.
  28. Crave
    The film's method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
  29. Swerve
    A confident and exciting genre film, and that's certainly not nothing, but it has a slight impersonality that marks it as either a calling card or a work for hire.
  30. S#x Acts
    In its refusal to bring an easy understanding to its main character's behavior, it comes dangerously close to presenting her as a willing perpetrator in her own victimhood.
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