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. For a Good Time, Call...
    While the heart of the movie is the at-times strained relationship between the two leads, it all unfolds rather by the numbers, dictated more by the expected arc of such things than the demands of the characters.
  2. Hit So Hard
    P. David Ebersole so busy flitters from one point of interest to another that Hit So Hard never coheres into anything other than a collection of rock-star clichés.
  3. God Bless America
    By wholeheartedly taking its main character's side instead of complicating or censuring his homicidal vigilante crusade, it proves inanely one-note and preachy.
  4. The Intouchables
    A cheeky dream-drama about the friendship between a rich, white quadriplegic and a penurious black job-seeker, the premise of The Intouchables alone nearly renders analysis redundant.
  5. 360
    Directed by Fernando Meirelles from a dusty script by Peter Morgan, 360 is all superficial stimulation, hollow and stiff as it beats the dead horse of we're-all-connected narratives.
  6. End of Watch
    End of Watch is pure frat-boy fantasy, the video game to Southland's great American novel.
  7. Delicacy
    Now that Zooey Deschanel has taken a detour into TV land, is Audrey Tautou the most insufferable pixy presence in cinema today?
  8. RoboCop
    Ultimately the film is, like the Faux News programming it caricatures at face value, a deck-stacking simulation of a dialogue it isn't even remotely interested in opening.
  9. Battle of the Year
    Remarkably, the highlight of Benson Lee's film, essentially a fiction reboot of his Planet B-Boy, isn't the scene where Chris Brown gets punched in the face.
  10. The Face of Love
    An almost offensively "tasteful" dud that remains irritatingly on the surface, more alive to the set design than the characters' motivations.
  11. Maleficent
    We may have all wanted to know the story behind those famed horns, but the mystery was far preferable to having Maleficent de-fanged and de-clawed in the process.
  12. Captain America: The Winter Soldier
    Despite one or two moments of Venture Brothers-worthy fancy, the film is as by-the-numbers as any this series has ever offered.
  13. Sin City: A Dame To Kill For
    Whereas a single, stinging one-liner would have sufficed Jacques Tourneur or Fritz Lang, Frank Miller's overcompensating flood of pulpy dialogue only renders his characters flat and sans empathy.
  14. ReGeneration
    Phillip Montgomery's film is ironically as undeveloped and busy as the sensational media it criticizes.
  15. Virginia
    Unfortunately, there's little sympathy granted to these people, and the revelation of their hidden vices comes across like an increasingly mean series of punchlines.
    • 16 Metascore
    • 38 Critic Score
    Silent Hill: Revelation 3D
    Silent Hill: Revelation fundamentally misunderstands the appeal its source material.
  17. Small, Beautifully Moving Parts
    Gentler and less aesthetically assaultive than offerings like 0s & 1s and Catfish, but it's not necessarily any subtler or more enlightening.
  18. Lovely Molly
    The film's inconsistent, largely bankrupt style is second to how hard and tackily it leans on the horror of child abuse to goose audiences.
  19. 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.
    • 35 Metascore
    • 38 Critic Score
    Mansome
    The sociological commentary and historical perspectives are superficial at best and the targets often too easy.
  21. Battle Royale
    Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
  22. Mighty Fine
    Debbie Goodstein-Rosenfeld's film seems oddly anemic when it deals with anyone but Chazz Palminteri's Joe.
  23. Paranoia
    Robert Luketic's supposedly down-and-dirty corporate espionage thriller undercuts itself at nearly every turn by shunning any potential relevancy.
  24. Red Lights
    That all the good things--and there are several--Red Lights has going for it are ultimately in service of an ending that might even make M. Night Shyamalan cringe represents one of the year's biggest missed opportunities.
  25. Hide Away
    A banal "poetic" drama of a grieving stranger licking his wounds in a bayside Michigan town.
  26. The Secret Life of Walter Mitty
    Ben Stiller's aesthetics blend overly manicured imagery with soaring rock songs that underline every emotion, lest the film's corporate logo-driven message-making didn't get the point across clearly enough.
  27. Dark Horse
    Yesterday, Solondz blocking the screen meant something, even if it was just his own petulance. Today, a blurred sign only signifies his capitulation to peer pressure.
  28. The Oregonian
    It's the kind of movie you'd find in someone's VHS collection, decide to watch based on the box art and title, and end up switching out for "The House of the Devil" instead.
  29. Kite
    Far more concerned with indulging a slightly less glossy Slumdog Millionaire-like aesthetic than dealing with the frayed relationships of its characters.
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