Slant Magazine's Scores

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For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. To Hold a Mountain
    The documentary ultimately reveals itself as a paean to female strength and resistance.
    • tbd Metascore
    • 75 Critic Score
    Dao
    As it bounces around from conversation to conversation to paint a portrait of a community at once both fractured and reassembled thanks to these congregations, Dao comes to suggest a less sardonic version of one of Robert Altman’s hangout movies.
  3. Rose
    Freudians will have a field day with Markus Schleinzer’s 17th-century-set folk tale.
  4. Mouse
    This is subject matter that might sound heavy, but the difficult feelings dredged up never overwhelm the film’s gentle, character-driven approach.
  5. Lumiere, Le Cinema!
    Thierry Frémaux’s tribute is at its best when it spotlights just how much can still be rediscovered in the Lumière brothers’ formidable filmography, over 130 years after they filmed workers leaving the factory.
  6. 'Round Midnight
    Jazz music is a state of mind in Bertrand Tavernier’s 1986 film ’Round Midnight.
  7. Star Trek
    Like the original cast’s best movie, The Wrath of Khan, this Star Trek essentially turns out to be a war film, with the occasional philosophical timeout to discuss love, friendship, and duty until the next bone-crunching fistfight or multi-weapon rumble with the Romulans. But Bana’s villain lacks the wit and corny majesty of Ricardo Montalban’s.
  8. Whatever Works
    As it unfolds, Whatever Works assumes an increasing note of poignancy, becoming a quasi-optimistic story about securing whatever little love you can in this fakakta world.
    • 82 Metascore
    • 63 Critic Score
    Memories of Murder
    The film is overlong at 132 minutes, but never dull or predictable, especially in delivering an ambiguous ending that goes against the grain of most Hollywood slasher films. One wishes it strayed even further from the land of the Hannibal Lecter, then we’d really have something.
  10. Silent Hill
    Despite its often-overwhelming nonsensicality, there’s ultimately something irresistibly fiendish about Silent Hill, which not only condemns holier-than-thou religious zealots, but also—if I understand its gruesome finale—seems to be firmly on the side of the Devil.
  11. Mission: Impossible III
    Shallow to its core and as propulsive as a runaway locomotive, it's the most blatantly summer movie-ish of the Mission Impossibles. And also, surprisingly, the most viscerally entertaining.
  12. Sólo con tu pareja
    This sexy, often funny comedy about AIDS is missing one important thing: a crucial sense of danger.
  13. The Nightmare Before Christmas
    Whereas the film is a marvel to look at, it’s unfortunately not much in the song or story department, as Danny Elfman’s musical numbers are—save for the opening’s boisterous “This Is Halloween”—generally banal and unmemorable, and the plot, despite only having to fill out a paltry 76 minutes, ultimately as emaciated and insubstantial as its leading bags of bones.
  14. Maelstrom
    Maelström earns its haunting, unpredictable ending, never exaggerating Evian’s moral dilemma. Still, without non-stop techno or the existential overtones of a Kieślowski morality tale, Maelström is just another Winter Sleepers.
    • 69 Metascore
    • 63 Critic Score
    25th Hour
    With all of its oversights and indulgences, 25th Hour is still a persuasive, undeniably fascinating film—watching Lee throw everything on his mind into the fray, no matter how irreconcilable with the story, makes for an interesting experience.
  16. Springtime in a Small Town
    The film exudes a sense of fleetingness; however static these lives may be, Tian's narrative perfectly evokes a changing season.
  17. Malcolm X
    With Malcolm X, Lee doesn’t so much inject his sensibilities into the lifeline of his subject, but rather comes to see how his place as a film director can be integrated within the social movement of X’s message.
  18. The Lion King
    Although far from the worst offender in Disney's canon, The Lion King is nevertheless host to many of the less savory qualities common to the studio's output.
    • 75 Metascore
    • 63 Critic Score
    El Norte
    El Norte deserves credit for being one of the first films to engage American cinema in a discourse on the immigrant experience, but its approach to the material—shallow, condescending, and hectoring—undermines its stabs at brutal realism.
    • 67 Metascore
    • 63 Critic Score
    Bottle Rocket
    Anderson has a great deal of empathy for his charming band of fuck-ups, but the characters are thinly drawn, and Anderson's attempts to lend the story emotional weight, like giving Anthony a ludicrously one-dimensional love interest in South American housekeeper Inez (Lumi Cavazos), largely fall flat.
  21. Bonnie and Clyde
    Though Bonnie And Clyde may have been conceived as a proto-European hybrid and The Graduate a California thoroughbred, the violent hemorrhage that closes the Depression-era/Vietnam-era touchstone makes as good a case as anything in filmed entertainment that American mass media operates in the declarative.
  22. Aliens
    Cruder than the original, Aliens is a distinctly greedy mega-production.
  23. The Killer Inside Me
    The result isn't drama so much as a waking nightmare of play-acting and predestined doom.
  24. The Wayward Cloud
    Tsai's most off-putting work is nonetheless worthy of intense and ongoing consideration.
  25. World on a Wire (1973)
    Fassbinder's sumptuous 205-minute epic is intriguing as a prototype for later and more palatably cynical sci-fi standards like "Blade Runner" or even "Total Recall."
  26. The Debt
    Its performances are resourceful and affecting, with Chastain and Worthington in the past sequences, and Mirren and Wilkinson in the later chapters, exuding a complicated mess of responsibility, guilt, sacrifice, revenge, and regret.
  27. Evangelion: 2.0 You Can (Not) Advance
    Evangelion 2.0 evolves the original show’s central conceit of being alone together with other people in leaps and bounds. The problem with that is: Neon Genesis Evangelion was never a leaps-and-bounds kind of show.
  28. Sacrifice
    A historical melodrama that retains an ancient, elemental pull even as it insufficiently charts motivation and the self-denying values of antiquity.
  29. Friends with Kids
    With the foul-mouthed dramedy Friends with Kids, writer/producer/director/star Jennifer Westfeldt is juggling so much, it's a wonder there aren't more jokes about balls.
  30. The Twilight Saga: Breaking Dawn - Part 2
    Characters are better employed; emotions are, for once, palpable; and the selfishness of Bella, author Stephenie Meyer's avatar, is finally somewhat squelched.
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