Slant Magazine's Scores

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For 7,775 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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    • 72 Metascore
    • 63 Critic Score
    Magic Mike
    It's as if Soderbergh expects the film to mostly resolve itself, rounded out by the asses-in-the-seats appeal of the material, rote thematic underpinning, and ample charms of the cast.
  2. Ted
    Seth MacFarlane's comedic modus operandi is to shock with outrageousness and pander with TV and movie citations via one non sequitur after another, a strategy that leads to a few laughs but nothing approaching lasting humor.
  3. Unforgivable
    The layered, character-driven drama may subvert expectations of a sunny Venetian noir, but observes its five principal characters with a probing, egalitarian eye.
    • 62 Metascore
    • 50 Critic Score
    A Burning Hot Summer
    The Louis Garrel character's mixture of self-containment and alleged possessiveness over his wife fails to convince, if not to irritate.
  5. Gypsy
    A Slovakian character study of a boy ambivalently caught between worlds that ultimately squanders its promise.
  6. Searching for Sugar Man
    Despite crafting a consistently engaging film, the director doesn't present the full scope of Sixto Rodriguez's life.
  7. People Like Us
    This dry-as-dust enterprise bogs down in an almost total lack of energy and imagination that no amount of faux earnestness can overcome.
    • 86 Metascore
    • 88 Critic Score
    Beasts of the Southern Wild
    Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
  9. Take This Waltz
    Take This Waltz is full of chance encounters, some less likely than a lobby with nine hundred windows or a bed where the moon has been sweating.
  10. Ordinary Miracles: The Photo League's New York
    Nina Rosenblum's love letter never attains that essence of ambiguity that makes the best nonfiction films live on after the credits fade.
  11. Abraham Lincoln: Vampire Hunter
    The script leaps forward with an absurdity almost as great as Lincoln's own strength.
    • 60 Metascore
    • 50 Critic Score
    Men on the Bridge
    If director Asli Özge has said something about modern-day Istanbul, she's done it in fairly broad strokes that may be too far apart for the sake of a discernible narrative.
    • 62 Metascore
    • 75 Critic Score
    Nate & Margaret
    Nathan Adloff's Nate & Margaret is an endearing, hopeful, and quietly radical film.
  14. The Last Ride
    A typical wax-museum reproduction of the American South in which every detail is Southern in bold all caps, and not a single scene over the course of the film's 102 minutes rings true.
  15. Seeking a Friend for the End of the World
    A predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
  16. Kumaré
    Kumaré has a premise that could've been the launching point for one of Sascha Baron Cohen and Larry Charles's satirical outrages.
  17. To Rome with Love
    "With age comes exhaustion," according to a rueful line late in the film, and it serves as a fitting diagnosis for Woody Allen's latest fallen souffle set in a European cultural capital.
    • 75 Metascore
    • 75 Critic Score
    The Invisible War
    Kirby Dick's spartan use of graphics and statistics conveys arguments with little grandstanding.
    • 69 Metascore
    • 50 Critic Score
    Brave
    Pixar's latest ultimately offers nothing more than a caricature of a well-worn conceit.
  20. The Girl from the Naked Eye
    The Girl from the Naked Eye has heart, which is more than can be said of some other recent genre throwbacks, but it ultimately makes barely a splash.
  21. That's My Boy
    That's My Boy lazily exists in a fantasyland of Adam Sandler's perpetual adolescence, even as it generates some moderate comic friction from Sandler and Andy Samberg's testy back-and-forth.
  22. Rock of Ages
    If the Adam Shankman film's debasement of its subject into campy kitsch is the unavoidable fate of all culturally dangerous art, that doesn't make it any less palatable.
  23. The Woman in the Fifth
    Pawlikowski has crafted a film that throbs with substantial personal weight and bristles with a violent, haunting interior life.
  24. Marina Abramovic: The Artist Is Present
    As entertaining as the documentary is, it never really measures up to the fascination and sheer force of personality of its subject.
  25. The Tortured
    Robert Lieberman's Perverted Justice advert spins its wheels with scene after scene impatiently cut like a montage sequence.
  26. Kite
    Far more concerned with indulging a slightly less glossy Slumdog Millionaire-like aesthetic than dealing with the frayed relationships of its characters.
    • 55 Metascore
    • 88 Critic Score
    Extraterrestrial
    In almost every respect, Extraterrestrial is an exceptional and traditional romantic comedy. It just happens to be set during an alien invasion.
  28. El Velador
    El Velador doesn't pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
  29. UFO in Her Eyes
    The serio-comic technique and ping-ponging aesthetics ultimately make for a winning approach.
  30. Tahrir: Liberation Square
    A direct-cinema document of the Cairo protests that toppled Mubarak, Stefano Savona's film doesn't pretend that Egypt's resolution has yet won a lasting victory.
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