Slant Magazine's Scores

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For 7,788 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: 4,359 out of 7788
  2. Mixed: 1,495 out of 7788
  3. Negative: 1,934 out of 7788
7788 movie reviews
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  1. The Hollars
    The film's ruefully honest tone is periodically drowned out by the blare of stagey coincidences.
  2. I.S.S.
    The film is in such a rush to get to the bloodshed, deception, and panic that most of the fertile ground of its premise goes unexplored.
  3. Red Sparrow
    The way that Dominika is at once completely transparent and at the same time impossible to read is Red Sparrow's most intriguing through line, not least of which for the way that Jennifer Lawrence makes you grasp the canny mental gymnastics that her character has to do in order for everything that she says to be at once truth and obfuscation.
  4. Carrie
    In focusing on predominately kid-gloves portrayals of her teen players, Kimberly Peirce never properly addresses the machinery behind their doom, which is why the film is relentlessly lifeless when it's not literally ripping off De Palma shot-for-shot.
  5. 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.
  6. Fly Me to the Moon
    Fly Me to the Moon’s sudden shift toward the weighty throws off the pace of what had been a formulaic but charming rom-com, as the heavy-handed look at both Cole’s and Kelly’s past demons fails to mesh cohesively with the antic silliness that preceded it.
  7. In Time
    Justin Timberlake can't elevate what amounts to relatively simplistic, formulaic material, but his headlining turn exhibits sufficient charisma and wit to make In Time a passably diverting action-packed waste of time.
  8. Our Brand Is Crisis
    It only serves to validate George Clooney's devotion to showmanship as Hollywood's current reigning poster boy for blue-state morality.
    • 52 Metascore
    • 38 Critic Score
    Snowman's Land
    A tonal hodgepodge ever at odds with itself, Tomasz Thomson's unctuous, tongue-in-cheek debut is far too self-satisfied with its jokes for any to really be funny.
  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. 5 to 7
    Ironically, the Victor Levin film's mildness turns out to be its most engaging quality.
  12. Dirty Mary Crazy Larry
    Dirty Mary Crazy Larry is the rare exploitation film whose few redeeming qualities make up for its numerous shortcomings.
  13. Submission
    This tentative questioning of the sometimes unscrupulous methods and deleterious consequences of political correctness is further undermined by Ted's insipid character and general indifference to his fate.
  14. White House Down
    Roland Emmerich makes love of country into a thing of unabashed hokum, which bleeds through every nook of this overstuffed jumble and leaves no character untouched.
  15. 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.
  16. Stonehearst Asylum
    In the wake of the ostentatious atmospherics summoned by the likes of Shutter Island and American Horror Story: Asylum, the film feels unnecessarily restrained.
  17. Puppet Master: The Littlest Reich
    It all feels cheap and looks cheap, a far cry from what S. Craig Zahler can do when overseeing both a film's words as well as its images.
  18. Front Cover
    The very few instances where stereotypes are challenged are forced and didactically delivered.
  19. LUV
    As a film that largely works as a subdued twist on the familiar drama about crime and family, LUV needed more intimacy and focus.
  20. My Old Lady
    Israel Horovitz's film is basically a three-character play without a single character you can believe in.
  21. Extremely Wicked, Shockingly Evil and Vile
    The film essentially indulges in the same act of willful distractedness as Ted Bundy’s admirers.
  22. Sexy Baby
    What the documentary lacks in the way of sophisticated filmmaking it compensates for with an earnest insistence on open dialogue.
  23. The 4:30 Movie
    Jam-packed with his familiar brand of vulgar yet verbose stoner humor and free-flowing riffs on movies—especially his own—the vibes are certainly off the charts in Kevin Smith’s film.
    • 52 Metascore
    • 50 Critic Score
    Parthenope
    The film’s succession of symbolically loaded vignettes is less meaningful than intended.
  25. The Good Doctor
    The Good Doctor isn't a ponderous bore because Blake isn't a strictly good or bad character: It sucks because he isn't even a compelling character.
  26. The Sons of Tennessee Williams
    This time-tested project of tracing gayness back to when its shame was so explicitly enforced feels not only passé, and naïve, but mostly unproductive in a post-Judith Butler world in which drag queens are on TV teaching biological women how to better perform womanhood.
  27. Vulgaria
    Pang Ho-cheung can't help but humanize Vulgaria's characters, which is a kiss of death for what's meant to be a farce of escalating obscenity.
  28. Mr. Right
    It has a bouncy sense of lunacy, wearing its derivative junkiness on its sleeve with surprising lightness of authority.
  29. Le Mans
    Le Mans needs to be rediscovered so that it can be hopefully embraced as one of star Steve McQueen’s finest hours.
  30. Paradise
    Andrei Konchalovsky's film is more than an exercise, as pitiless moments accumulate with enraged relentlessness.
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