Slant Magazine's Scores

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For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. Da Sweet Blood of Jesus
    A dizzying hall-of-mirrors stunt, a horror remake as autobiographical X-ray, and a work of fantasy that serves as a decadently cleansing creative exorcism.
    • 52 Metascore
    • 75 Critic Score
    American Animal
    It may be baked with the same ingredients that come in your standard mumblecore starter kit, but because of Matt D'Elia's indebtedness to other movies, the film follows a different recipe altogether.
    • 52 Metascore
    • 38 Critic Score
    Charlie's Angels
    All the feminist virtue-signaling in the world can’t conceal the film’s creative conservatism.
  4. First Date
    The shadow of Risky Business looms large, and distractingly, over Manuel Crosby and Darren Knapp’s film.
  5. The Amateur
    The Amateur is a relaxed and pleasurable throwback to the spy pulp of the 1970s and ’80s, yet told with a (mostly) honest appraisal of the C.I.A.’s ethical failings.
  6. Greed
    The film takes occasional stabs at comic grotesquerie, but it’s brought back to earth by an insistent docudrama seriousness.
  7. SuperFly
    SuperFly is a slicked-up, tricked-out revamp that dispenses with any pretense of verisimilitude in favor of rap-video extravagance and mob-movie bloodshed.
  8. Winter in the Blood
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
  9. Windfall
    Windfall has a difficult time landing on the right tone or getting a bead on its characters.
  10. Anyone But You
    Will Gluck’s rom-com doesn’t bother to create a compelling world around its charming leads.
  11. Ghost in the Shell
    The primary pleasure of the film resides in its awareness of the impossibilities of unity, whether physical or cultural, within a rapidly transforming global milieu.
  12. Wolf
    The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
  13. Magic Mike's Last Dance
    By never committing to neo-screwball antics nor a more serious analysis of codependency, the film ends up stranded in emotional ambiguity.
  14. Detachment
    Endng in risible bathos, Tony Kaye's urban high school melodrama is all about the cute teacher's crises and the girls who love him.
  15. Central Intelligence
    It's a pity that no one else involved in the making of the film had Dwayne Johnson's sly intuition.
  16. School Daze
    School Daze is, if nothing else, a compelling time capsule of racial politics in the late ‘80s, ethnographically sealed-off in a hothouse micro-environment (an all-black college campus) that’s as constrictive as Lee’s varying plot threads and stylistic whims are profuse.
  17. Over Your Dead Body
    Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.
  18. Silent Night
    The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
  19. The Last Voyage of the Demeter
    The film suggests a gene splice of a slasher flick and supernatural horror. But as enticing as that combination may sound, André Øvredal’s rendering of it is as bland and listless as the blues and grays that dominate the film’s color palette.
    • 52 Metascore
    • 50 Critic Score
    Wasteland
    At heart a heist movie, snappy and dry in its humor, clever in its elaborate robbery scheme, and somewhat bloated and unspooled in its storytelling.
  21. Alone in Berlin
    The film attempts a tone of tragic understatement that registers instead as flat, plodding, and underfelt.
  22. Grease 2
    The sequel to Grease is not much more than a remake, wherein every minute detail is nothing more than an attempt to pilfer the magic of the first film.
  23. Chasing Madoff
    The fawning personal-life segments are overdone, and undermine the film's compelling reportage about Madoff's ruse and downfall.
  24. The Iron Lady
    The wonder and terror of Meryl Streep's performance in The Iron Lady is her formidable ability to nail the disheartening talents of not just Margaret Thatcher, but so many conservative politicians like her, who have a tremendous knack for changing minds and beckoning cheers while underlining their own rigid ignorance.
  25. Turkey Bowl
    Well acted and wise enough to not excessively linger in its atmosphere of genial camaraderie and underlying regret and nostalgia, Turkey Bowl accomplishes its small-scale goals with aplomb.
  26. My Piece of the Pie
    Cédric Klapisch settles for a mixture of bland obviousness and crudely manufactured drama.
  27. Madame Bovary
    Sophie Barthes neglects to thoroughly conceive of Emma's plight, instead making only sporadic gestures to it.
  28. An Ordinary Man
    Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.
  29. Materna
    Rarely do the filmmakers show people mutually affecting one another in cycles of pain and control, rather than blaming phantom figures.
  30. After the Hunt
    While its desire to question absolutes is admirable, there’s a hollowness at the film’s core that prevents it from having a more pointed impact beyond surface provocation.
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