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. Deadfall
    None of Eric Bana's mildly rousing moments clearly rise above the laborious gobbledygook that Ruzowitzky builds up through the course of the film's 94-minute duration.
  2. The Inbetweeners Movie
    Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong.
    • 55 Metascore
    • 38 Critic Score
    Wild Horse, Wild Ride
    If this sounds like the premise of one of those tiresome Discovery Channel docu-tainments, it's because it essentially is, only heavily abbreviated to fit the feature-film format.
  4. Collaborator
    The banter is playful and brazenly self-aware, but the ideas are a bit stale and don't lead anywhere emotionally substantial or narratively spontaneous.
  5. Starbuck
    Yet another example of modern-family predicaments getting stuffed into the traditional-family-values message of conventional comedies.
    • 48 Metascore
    • 38 Critic Score
    Solomon Kane
    The fight choreography has a gracefulness bordering on elegance, and so it's a shame that these standalone thrills aren't better integrated into the film as a fully formed narrative whole.
  7. Klown
    An ostensible Danish "Hangover" that more closely resembles "Two and a Half Men" with nudity and unexpurgated dick jokes.
  8. Sushi: The Global Catch
    The documentary is ultimately a dry endeavor that feels closer in spirit to an Afterschool Special than a full-blooded movie.
  9. The Equalizer
    All this should build up to a moderately engaging battle of wits, but Richard Wenk's script has little interest in wit and no capacity for psychology.
  10. Why Stop Now
    Shifting between wacky situation comedy and somber familial drama, Why Stop Now? isn't invested enough in either mode to convincingly pull off its genre-hopping ambitions.
  11. Death by China
    Further confirmation that agitprop documentaries have become wedded to a template that undermines their very arguments.
  12. Rush
    Ron Howard's by-the-seat-of-your-pants aesthetic makes the slower, darker sequences feel hurried and bland, especially when stacked up next to the racing sequences.
  13. The First Time
    Sex and love are both novel experiences for two high schoolers in this talky affair that suggests a hybrid of Before Sunset and Some Kind of Wonderful.
  14. Promised Land
    Gus Van Sant's new film offends for how it views the struggles of the landowners at the heart of its story as subservient to their oppressor's triumph of the spirit.
  15. Quartet
    For a movie that aims to make four artists' last spotlit hurrah a revel-worthy moment, Quartet shouldn't urge the viewer to welcome the closing of the curtain.
  16. [REC] 3: Genesis
    If a fourth entry wasn't already in the works, [Rec] 3: Genesis could have easily represented the nail in the franchise's coffin.
  17. The Eye of the Storm
    This adaptation of a prize-winning Australian novel is a stodgy slog save for some sporadic moments of blunt force supplied by Judy Davis and Charlotte Rampling.
  18. Serving Up Richard
    After a promising entrapment scene that offers some casually eerie narrative details, the film collapses, lurching awkwardly between a variety of tones and intentions.
    • 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.
    • tbd Metascore
    • 38 Critic Score
    Mark Lombardi: Death-Defying Acts of Art and Conspiracy
    Feels like one of those thin, audio-visual supplements on an artist that you casually view as you browse a gallery show.
  21. Home
    Home's exposition is a mess of forced zaniness, which leaves the rest of the film with a Swiss-cheese foundation.
    • 48 Metascore
    • 38 Critic Score
    Admission
    The estrogenic elements prove widely ineffectual, but they're just pieces of this overlong, overloaded misfire whose double-entendre title ultimately just goads the jaded viewer to admit defeat.
  23. The Iran Job
    Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film.
    • 50 Metascore
    • 38 Critic Score
    Dark Skies
    Scott Stewart's Dark Skies is the definitive horror film for the Tea Party era.
  25. Smurfs: The Lost Village
    It's content to be the sort of film parents can throw on an iPad to ensure 90 minutes' worth of relative peace and quiet away from their antic children.
    • 48 Metascore
    • 38 Critic Score
    Decoding Deepak
    Unlike his father, Gotham Chopra is more interested in his own latent daddy issues than with questions of cosmic import.
  27. Janeane from Des Moines
    The film betrays its own fictions by overloading on cheap worst-case-scenario mythology.
  28. Special Forces
    The film walks a questionable line between Important Issue seriousness and antsy video-game machismo.
  29. Waiting for Lightning
    With Danny Way almost never weighing in directly, the film's attempts to portray his story as an inspirational tale of triumph over adversity scarcely registers.
  30. We Are Legion: The Story of the Hacktivists
    The doc's straightforward and chronological structure is its own worst enemy.
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