Slant Magazine's Scores

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For 7,789 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 7789
  2. Mixed: 1,496 out of 7789
  3. Negative: 1,934 out of 7789
7789 movie reviews
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  1. Burke and Hare
    Broadness this indolent hardly even stirs one to antipathy.
  2. True Adolescents
    Glomming conceits and situations from a vast range of similarly themed films, it ambles along in a lethargic, good-natured manner, fitfully amusing but never approaching substantial.
  3. Good Neighbors
    Good Neighbors basically runs on the assumption that Montreal is the last place you would ever want to live.
  4. We Need to Talk About Kevin
    The purpose of Lynne Ramsay's hodgepodge approach is to distract us from the flimsiness of a story that suggests a snide art-house take on "The Omen."
  5. The Watch
    What's perhaps most off-putting about the movie isn't its increasingly stale humor, but the way it ultimately validates its characters' worst impulses.
    • 42 Metascore
    • 38 Critic Score
    Parker
    Tonally, Parker's not so much broad or inclusive as weirdly schizophrenic, vacillating between flat comedy and spiked savagery, the product of a painfully slapdash script that also includes such laughable incidental dialogue as "pizza-I love that sh.t" and "beers and jewels, baby."
    • 52 Metascore
    • 38 Critic Score
    A Horrible Way to Die
    The adventitious use of loud and strange blasts of music may theoretically make sense to heighten the film's creepiness, but here, like everything else, they don't exactly make a perfect fit and serve more as the final nail in the coffin for the film's lack of tonal cohesion.
  8. Tanner Hall
    Francesca Gregorini and Tatiana von Furstenberg's film is episodic, but the episodes don't achieve any kind of cumulative effect.
  9. Father of Invention
    There's no spark or humor to the film's situations, just the sense of capable actors trying to make the best of a hopeless situation.
    • 56 Metascore
    • 38 Critic Score
    The Monk
    Dominik Moll never addresses Matthew Gregory Lewis's original groundbreaking ideas in the film, nor does he rework the material for a contemporary audience.
  11. The Hedgehog
    The Hedgehog ultimately illuminates only the continued lameness of employing out-of-leftfield tragedy for cheap bathos.
  12. The Heir Apparent: Largo Winch
    Like most of the film's performances, Sisley's comes off as flat and impenetrable, the result both of a certain stoical conception of character and the dissipation of focus that arises from the movie's perceived need to encompass so much.
  13. Blackthorn
    Blackthorn's last-man-standing circumstances, far from a cautionary tale about the cost of the gunslinger life, are glorified as the height of macho nobility.
  14. Iron Crows
    A maddeningly blunt and syrupy rendering of a piquant socio-economic configuration, Park Bong-Nam's Iron Crows is ultimately third-world documentary filmmaking at its most exploitatively surface-groping.
  15. Chasing Madoff
    The fawning personal-life segments are overdone, and undermine the film's compelling reportage about Madoff's ruse and downfall.
  16. Grave Encounters
    Twelve long years after "The Blair Witch Project" pushed the first-person-POV subgenre to horror's forefront, and four years after [Rec] expertly refined the formula, Grave Encounters can't even pretend to be anything other than hopelessly derivative.
  17. Fordson: Faith, Fasting, Football
    In the documentary, the game is a make-believe war of pent-up frustrations linking race, nation, and manhood, one which teenage boys named Mohamed can actually win.
  18. Shame
    Shame articulates a shallow, even mundane, understanding of an uninteresting man's sex addiction-in a vibrant city rendered dull and anonymous.
  19. After Earth
    The art of storytelling is both of distinct narrative interest and personal issue in the latest payload of calcified nonsense from one of modern cinema's oddest would-be auteurs.
  20. Shut Up Little Man! An Audio Misadventure
    Shut Up Little Man! fails to legitimize its topic as one of any significance.
  21. Prince of Swine
    Played as broadly and as crudely as you please (in terms of acting, direction, "edgy" dialogue), Prince of Swine paints a grimly ugly portrait of male sexual violence and female submission.
  22. A Bird of the Air
    Naturally, given the film's somewhat precious air of spiritualism, the parroted phrase that speaks most clearly to Lyman is a quotation from the book of Ecclesiastes that gives the film its title and gives Fiona a chance to offer a blithely optimistic interpretation of that most dour of Biblical books.
  23. 1911
    Adhering to what is apparently a formula for national superproductions, 1911 throws dates and names on the screen with unceasing speed and frequent irrelevance -- gratuitously identifying a walk-on as "German diplomat."
  24. Norman
    Alternately maudlin and snarky, Norman just doesn't risk enough, and can be consigned to the status of what the school drama geek would call "some contemporary, obscure, teen-angst thing."
    • 45 Metascore
    • 38 Critic Score
    Taken 2
    Some of the basic pleasures of the original remain intact (nobody shoots up a small room of bearded Eastern European men like Neeson), but ultimately the film feels compromised.
  26. The Divide
    In Xavier Gens's The Divide, the revolution will not be televised, only the degradation of human civility--and in a mire of clichés more toxic to the mind than the radioactive dust that causes everyone's hair to fall out in the wake of a nuclear explosion.
  27. Oranges and Sunshine
    The film is so careful to avoid the luridness that would seem inevitably to accompany an excavation of child kidnapping, forced labor, and rape, that the result is a plodding, overly tasteful procedural that holds up its hero as an incorruptible embodiment of goodness.
  28. Young Goethe in Love
    What unfolds is a predictably anguished story of true love thwarted by material circumstances, or in the terms dictated by the film, rationality triumphing over romance.
  29. The Incredible Burt Wonderstone
    The film is overtly suspicious and critical of the new and only serviceably romantic about the old.
  30. The Other F Word
    Covered in tattoos and clinging to wisps of their outsider status, the men profiled here seem assured of the novelty of their dilemma, as if they were the first generation to settle into a middle-class existence after a youth spent on the fringes.
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