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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    • 58 Metascore
    • 50 Critic Score
    No Place on Earth
    A remarkable story made almost unremarkable in the hands of lazy filmmaking.
  2. To the Wonder
    Throughout To the Wonder, the new and old are incessantly twinned, blurred into a package that suggests an experimental dance piece.
  3. An Oversimplification of Her Beauty
    A playfully self-reflective rumination on what writer-director Terence Nance has described as "self-awareness through experience with love."
  4. The Brass Teapot
    Imbued with a buoyant mysticism, the film is more gag-friendly than idea-based, primarily relying on the considerable charm of its leads to ground its supernatural conceit.
  5. 6 Souls
    The film belongs to a long tradition of horror films that offensively suggest that all atheists might as well hang a Welcome sign up for the devil.
    • 35 Metascore
    • 38 Critic Score
    Bert Stern: Original Madman
    Rote, rushed, and utterly uninterested in the power of Stern as an innovator of image, making it effectively the opposite of the output of the artist it attempts to document.
  7. Down the Shore
    Down the Shore suggests what might happen if TBS and Bruce Springsteen were to collaborate on a sitcom set in hell.
  8. Tomorrow You're Gone
    Hardboiled noir play-acting doesn't get more sluggish than in this leaden tale that blurs the line between reality and delusion in a way that's less intriguing than simply confusing.
  9. Simon Killer
    The film has many elements of a thriller, but ultimately Antonio Campos's interest lies much more in profiling, yet never over-determining, his moody protagonist.
  10. The Company You Keep
    A would-be thriller masquerading a long, dry monument to the reliability and comfort of community, blindly cocooned by its own nostalgic self-regard.
    • 26 Metascore
    • 63 Critic Score
    Tyler Perry's Temptation
    When its third act erupts into full-blown theatrical maximalism, Tyler Perry's Temptation practically turns into Brian De Palma's Temptation.
    • 63 Metascore
    • 50 Critic Score
    Violeta Went to Heaven
    Suffers from an overtly conventional way of depicting the life events of an anything-but-conventional woman, a lazy flaw further highlighted by its brief moments of visual experimentation.
  13. Renoir
    A long string of picnics, portrait sessions, elaborate dinners, and countryside rituals, filtered through a svelte aesthetic pleasantness that ultimately corrodes its larger interests.
    • 42 Metascore
    • 12 Critic Score
    Mental
    Given the film's garrulous multitude of characters, one wishes they would all just shut up and sing.
    • 35 Metascore
    • 25 Critic Score
    The Host
    Its title, very graciously, doesn't end with a "Part 1," but The Host sure has enough plot points and ideas to fill two installments.
  16. Blancanieves
    Pablo Berger digs for emotional intensity in his gothic retelling of Snow White and only uncovers layers of gloss.
    • 61 Metascore
    • 75 Critic Score
    Trance
    The film draws out Danny Boyle's less dazzling commercial side, not to mention his penchant for whirling excess.
    • 41 Metascore
    • 50 Critic Score
    G.I. Joe: Retaliation
    Instead of long takes, which are lovingly utilized in Step Up 3D, Jon M. Chu opts for increasing volatility in the editing room.
  19. Welcome to the Punch
    The sheer wastefulness of Eran Creevy's Welcome to the Punch is off-putting enough, but the film is also falsely painted-up as a crime epic.
  20. Code of the West
    The filmmaker's failure of empathy for those who strive to outlaw medicinal marijuana turns the protestors into hissable puritanical bad guys.
    • 58 Metascore
    • 50 Critic Score
    Wrong
    It doesn't seem to have any pretensions beyond the regimented unveiling of a parade of odd occurrences, plodding along under the banner of absurdity.
  22. Somebody Up There Likes Me
    Bob Byington's perspective may be above it all, but that doesn't quite account for the shades of melancholy that pop up unexpectedly in lines of dialogue and in some of the performances.
  23. The Revolutionary Optimists
    The filmmakers display a genuine reverence for their subjects, evident even in the intimate but never intrusive photography.
  24. Dog Pound
    The plot willfully denies our satisfaction, often at the risk of compromising its own structural integrity.
  25. Detour
    In comparison to its superior predecessors, the film's redemption plot feels banal and slight.
    • 80 Metascore
    • 100 Critic Score
    Room 237
    The doc positions The Shining as a comparably coiled, thematically overflowing microcosm--standing in for cinema, for history, for obsession, for postmodern theory buckling under the film's heft.
  27. You Don't Need Feet to Dance
    Despite its title, there's actually very little dancing, or rhythmic flair, in You Don't Need Feet to Dance.
  28. Murph: The Protector
    One wonders if the filmmakers ever asked themselves who their film was intended for, or if it was at least a consciously self-serving effort from the outset.
  29. My Brother the Devil
    With My Brother the Devil, writer-director Sally El Hosaini tells a story both operatic in its implications and quotidian in its sensory, day-to-day details.
  30. Hunky Dory
    Director Marc Evans's monotonous style keeps the film earthbound.
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