Slant Magazine's Scores

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For 7,769 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 6.5 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: 4,345 out of 7769
  2. Mixed: 1,491 out of 7769
  3. Negative: 1,933 out of 7769
7769 movie reviews
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  1. Dumb and Dumber To
    There's much more plot floating around during the sequel, all leading up to a climax at the "KEN Conference" that suffers in comparison to Silicon Valley's mockery of the same milieu.
  2. Rosewater
    It shrugs off the bigger questions about Iranian politics its first half appears to raise, falling back instead on a gestalt of the eternal, Kafkaesque regime, wherever the viewer may find it.
  3. Beyond the Lights
    By rooting Noni's self-image issues in a controlling mother, the script provides the film with a tame, melodramatic structure that dulls the thorny matters of identity and expression at its center.
  4. Red Army
    Gabe Polsky's quiet yet welcome achievement is to allow us to see the individual amid the politics, clearly and sympathetically.
  5. Penance
    The film is ultimately, and disappointingly, revealed to be a contraption that's less concerned with mental portraiture than with getting all of its expository ducks in a row.
  6. Miss Meadows
    Perhaps Karen Leigh Hopkins's intent was to subtly suggest the surreal aspects of the story, but ultimately she underplays her hand.
  7. Thou Wast Mild and Lovely
    This is a confident work that smashingly updates the Southern gothic for contemporary generations.
  8. Always Woodstock
    The filmmakers play Catherine's disgustingly narcissistic sense of entitlement as endemic to the supposedly girl-next-door charms befitting the film's thoroughly normative gender politics.
  9. Wolves
    The cinematographic approach of the film suggests some unholy hybrid of the aesthetic and genre indulgences of Michael Bay and the hyper-literalist plot construction of Christopher Nolan.
  10. A Merry Friggin' Christmas
    Whereas "Bad Santa" was nastier and riskier, as well as more mischievously winsome, A Merry Friggin' Christmas is as curiously timid as it is morally dubious.
  11. The Homesman
    If there's any ambiguity to be found in the film's prolonged last gasps, which reach for tragedy, but only sow more epistemic confusion, it's of a mawkish and unpalatable variety.
  12. Bad Turn Worse
    A reminder that crime movies pointedly inspired by other, better genre films can still be enjoyable, if they wear their influences lightly and cleverly connect them to something tangibly human.
  13. Pelican Dreams
    The film is spare, empathic, and deeply introspective, and its imagery, such as a pelican fascinated by its own reflection, is so sublime in its kookiness as to be worthy of Werner Herzog.
  14. Bhopal: A Prayer for Rain
    The film places its characters in a reflexive historical continuum that dooms them to be mere demonstrative types from start to finish.
  15. Jessabelle
    Rather than commit to exploring Jessabelle's existential crisis, the filmmakers opt to pile on the clichés straight until the rotten denouement.
  16. Big Hero 6
    The film quickly becomes a study of grief and retribution, and the question of how exactly technology can and should be utilized in the treatment of these emotions.
  17. Open Windows
    Timidity and perhaps fear, of visual confinement, of lingering emotional engagement, closes Nacho Vigalondo's most promising windows.
  18. Interstellar
    Much like his hero, Christopher Nolan's goal seems to be to take the humor and wildness out of imagination, to see invention in rigidly practical and scientific terms.
  19. West
    Christian Schwochow's film is a tense psychological slow burn, putting us in the muddled headspace of its protagonist as she gradually comes unglued.
  20. Virunga
    This is muckraking journalism that moves confidently with the brio of an action thriller.
  21. The Tower
    As the psychology of the characters hardly connects with their distinctive milieu, the film merely suggests a conventional family drama littered with empty pot-shots at governmental authority.
  22. Hangar 10
    It's easy to see how Daniel Simpson's desire to return the found-footage genre to its roots resulted in cheap imitation.
  23. Why Don't You Play in Hell?
    Refusing to mourn anything, displaying a Futurist-style disdain for the past, Sion Sono imagines a world in which static adherence to old ideas leads directly to doom.
  24. The Way He Looks
    What progressively mounts tension is the film's understanding of a boy's gradually realized homosexuality as being inextricable from the central metaphor of compromised vision.
  25. 21 Years: Richard Linklater
    Of greatest damage to the doc's coherence is its wholehearted belief that its subjects are offering firsthand reports worth hearing.
  26. National Gallery
    In the style of an ambling, yet entirely focused visitor, the film continually circles back to pictures, protagonists, and situations to furnish them with new meanings, alter their perception, or even directly challenge their previous presentation.
  27. Actress
    It convincingly reconciles private passion with public desire by suggesting that, for women in particular, the 21st-century limelight is always on, no matter the setting or venue.
  28. Before I Go to Sleep
    It's hard to tell if the film is hampered or helped by the performances of its three stars, because it's so amateurishly written and directed that their participation beggars belief.
  29. Zero Motivation
    Zero Motivation is refreshingly casual in the depiction of its female-centric environment, but the freshness of its performances is often compromised by a directorial impulse to reduce the female experience to spiteful girl fights, virginal malaise, and bunk-bed antagonism.
  30. Magical Universe
    To varying degrees of success, it attempts to prominently display Al Carbee's creations, yet keeps undermining his art in favor of investigating his skewed relationship to everyday realities.
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