Slant Magazine's Scores

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For 7,772 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. The Innkeepers
    Winding up the tension to an almost stubborn degree, Ti West forestalls the inevitable disappointment of its release, a blow that's further softened by how immaculately the whole movie is shot.
  2. One for the Money
    One for the Money is like The Bounty Hunter by Andy Tennant, if you dipped it in self-tanner and strapped some Four Loko on it.
  3. Come Back, Africa (1959)
    A solid, affecting artifact of the cruelty of late 1950s South Africa, in which music often makes despair and long-suppressed anger bearable.
  4. Man on a Ledge
    The script is a hot mess of the highest order, taking some of the stalest chestnuts in the long, venerated legacy of the framed-cop-trying-to-clear-his-name genre and somehow f---ing it up, in scene after scene after scene.
  5. Five Time Champion
    A coming-of-age tale that, with every landscape cutaway and twinkling note from its xylophone-heavy score, begs to be taken as a dreamy slice of countryside profundity.
  6. After Fall, Winter
    Taking the pedestrian and decidedly unsexy American male to Paris so he can become a sexual human being attuned to life's small pleasures is a tired device that perhaps only Woody Allen could possibly resurrect from the stinky pile of cinematic clichés.
  7. How Much Does Your Building Weigh, Mr Foster?
    Lionizing a world-class architect without tipping into hagiography, this documentary performs a graceful cinematic dance around his works.
  8. The Grey
    There's little in Joe Carnahan's previous films, marked by their frenetic, fanboy-friendly overindulgences, to predict the cold blast of The Grey, an old-fashioned, neatly arrayed survival story that almost reads like a reaction to the excesses of his past work.
  9. Declaration of War
    The surest sign that a filmmaker recognizes the insularity of his or her project is the presence of perfunctory attempts to hint at a wider political context.
  10. Ultrasuede: In Search of Halston
    The tension between the amateurish interviewer and the star interviewees gives the documentary a layer of authenticity that its otherwise formulaic structure and storytelling fail to find.
  11. Underworld: Awakening
    The only thing that manages to outpace Underworld: Awakening's ineptitude is its utter soullessness.
  12. Red Tails
    Where Spielberg has made WWII a venue for his sanctimonious side, a platform to convince viewers that war is indeed hell, Lucas is still in a state of pre-adolescent fascination with the conflict.
  13. Carol Channing: Larger Than Life
    A bubbly 90-year-old mascot from the golden days of the American musical, this doc's subject is certainly larger than the conventional testimonial treatment she's given.
    • 54 Metascore
    • 63 Critic Score
    Fullmetal Alchemist: The Sacred Star of Milos
    Manages to be an entertaining and faithful expansion on the original material while being inconsequential to it.
    • 65 Metascore
    • 25 Critic Score
    Scalene
    More concerned with the novelty of its three-act, "three-perspective" structure than with how that structure actually functions (hint: poorly), Scalene epitomizes the pitfalls of the Memento-copping trend, its strained conceptual ingenuity an exercise in aid of nothing.
  16. The Viral Factor
    The apparent byproduct of watching too much Bad Boys II, The Viral Factor is a cops-and-criminals saga slathered in glossy Michael Bay-isms.
  17. Grey Matter
    Director Kivu Ruhorahoza dares to demolish fiction's inherent distance from what might be considered "reality."
  18. The Front Line
    Both brutal and sentimental, this Oscar-submitted Korean war drama offers up rusty tropes as telling ironies.
  19. Watching TV with the Red Chinese
    The first half of the film is a virtual compendium of high-culture references, topical concerns addressed almost in passing, and narrative fracturing devices.
  20. Haywire
    If anything, Haywire is most closely linked to last year's "Contagion," a kindred effort in style, theme, and value-marring detachment.
  21. Don't Go in the Woods
    Coming across as a promotional showcase for a gaggle of young up-and-coming singer-actors, Don't Go in the Woods tethers together numerous indie-rock musical numbers with a backwoods-horror-film framework that's the definition of an afterthought.
    • 73 Metascore
    • 63 Critic Score
    Sing Your Song
    It's likely, then, that the film was directed by Susanne Rostock the same way Belfonte's new memoir, My Song, was written with Vanity Fair's Michael Shnayerson: to articulate, polish, and edit what the vociferous and at times alarmingly honest Belfonte wants to tell us without injuring his credibility outside of the left any further.
  23. Toll Booth
    Both as a character study and modern-day parable, Toll Booth sneaks up on you with its subtle use of repeating motifs and audible cues.
  24. Joyful Noise
    Joyful Noise certainly has its demographics covered.
  25. Contraband
    Heist, swindle, and other like-minded genre films thrive or flounder on the mechanics of their story's dangerously elaborate scheme, a fact ably proven by Contraband, a tale of high-seas smuggling without a clever thought in its leaden, derivative head.
    • 44 Metascore
    • 38 Critic Score
    Lula, the Son of Brazil
    This insipidly inspirational biopic of the two-term Brazilian president is a safe, bourgeois vision of proletarian struggle.
    • 64 Metascore
    • 88 Critic Score
    Domain
    The ultimate drama of Domain becomes how long he can be a witness to her self-destruction.
  28. Robinson in Ruins
    Robinson's very name ties him to explorers like Crusoe and Walden, but he is also something like JLG's whispering leftist prankster who butted into 2 or 3 Things I Know About Her to intermittently spout rhetoric over images of freeways and construction sites.
  29. Loosies
    Loosies never establishes a consistent tone; it feels made up as it went along, and not in the electrifyingly free-wheeling fashion of, say, a Godard or Altman film.
  30. 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.
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