Slant Magazine's Scores

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For 7,768 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: 4,345 out of 7768
  2. Mixed: 1,490 out of 7768
  3. Negative: 1,933 out of 7768
7768 movie reviews
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  1. Sin City: A Dame To Kill For
    Whereas a single, stinging one-liner would have sufficed Jacques Tourneur or Fritz Lang, Frank Miller's overcompensating flood of pulpy dialogue only renders his characters flat and sans empathy.
  2. Winter in the Blood
    Its offbeat aesthetic largely flaunts for appeal, suffocating character and thematic ambition underneath its flashiness.
  3. Kink
    More than just a thorough examination of hardcore pornography, Christina Voros's doc is also a sort of chronicle of the filmmaking process.
  4. Metro Manila
    Sean Ellis doesn't so much understand Filipino society as merely sees it as grist for standard genre fare, perhaps hoping that the foreign setting will somehow automatically make the clichés feel fresh.
  5. I Am Happiness on Earth
    If the film defies conventional form, it does so without the gravitas that conceptual cohesion brings, quickly rendering its experimentation into gratuitous aesthetic masturbation.
  6. To Be Takei
    Jennifer M. Kroot plays things a bit too straight and safe by giving into basic emotional and thematic possibilities of each period in Takei's prolific early life and subsequent Hollywood career.
  7. Love Is Strange
    Ira Sachs's push for heartrending poetry makes it clear that the film is putting too fine a gloss on the acute pains of one small tragedy.
  8. 14 Blades
    An immensely gifted physical performer, Donnie Yen isn't strong enough an actor to suggest an authentic inner life to his character beyond a vague sense of stone-faced dissatisfaction.
  9. See You Next Tuesday
    The film is uproariously funny, but its laughs don't come with an aftertaste of cynicism so much as they are the aftertaste of cynicism.
  10. Expedition to the End of the World
    A visual pleasure, and refreshingly free of message or structure, but it leaves an aftertaste similar to that of an awkward party spent among intellectuals.
  11. May in the Summer
    Cherien Dabis is least successful at connecting her character May's marital crisis to the rumblings of her repressed heritage.
  12. Cam2Cam
    Lost in this barely coherent and clichéd hugger-mugger is the initial killer-website conceit and the attending erotic dread, which is retrospectively revealed to be an illusory siren call.
  13. Are You Here
    The female characters on Mad Men are probably the show's strongest asset, but here they're hollow to the point of insult.
  14. The Giver
    The internal crisis of its protagonist amounts to the flicking of an on/off switch rather than the ebb and flow of a consciousness being born.
  15. Level Five
    Level Five pictorializes the cruel moment when curiosity encounters tragedy, and the all-too-human abandonment of interest that can follows.
  16. Ragnarok
    In the end, any and all potential B-movie fun is extinguished by Ragnarok's depressingly listless anonymity.
  17. Mr. X
    For a life beyond mere DVD supplementary material, the film could use a dose of rigor to balance out its steady stream of congratulatory pit stops.
  18. We Are Mari Pepa
    The film finally works because of its multitudinous interests in adolescent shell-shock, where paralysis and uncertainty can only be momentarily assuaged through gendered outrage.
  19. Coldwater
    It comes as no surprise that writer-director Vincent Grashaw wrote the first draft of this movie soon after graduating high school.
  20. The Expendables 3
    For all the brawn on display, the film never slows down to take in the thrill and talent of hand-to-hand combat.
  21. Frank
    The film boldly raises the unanswerable question of whether it's better for an artist to safely isolate his work or tweak it a bit so as to share it with the world.
  22. Dinosaur 13
    To some extent, the use of a wide aspect ratio and the doc's emphatic score takes its cues from paleontologist Pete Larson's passion.
  23. Moebius
    A kind of silent opera in which the actors' precise facial emoting and a muscular editing rhythm create a melodrama by turns horrific and hilarious.
  24. Life After Beth
    Jeff Baena's film, at heart, is just another overly familiar story of a boy struggling to get over his first love and who's rewarded for his troubles with a less volatile replacement model.
  25. The Trip to Italy
    Michael Winterbottom and his gifted actors still haven't quite solved the riddle of portraying social disconnection in a manner that's anything other than sporadically involving.
  26. The Hundred-Foot Journey
    The film is rife with tired food metaphors and plot twists so predictable you see them coming like travelers on the poplar-lined street that leads to the dueling restaurants.
  27. Teenage Mutant Ninja Turtles
    A film so overworked to ensure mass-market appeal that it loses the charming oddness and loose goofiness that has allowed these characters to endure.
  28. Into the Storm
    There are many instances of questionable logic in Into the Storm, but the most persistent is the film's unexplained assumption that tornado-hunting is a growth industry.
  29. Web Junkie
    Without a frame of footage nor a single interview presented from outside the camp, the documentary shows a capitalist nightmare that accords its victims zero wiggle room.
  30. Deepsea Challenge 3D
    Less explored in all the ensuing back-patting is the question of whether Cameron is, in fact, sincerely interested in learning more about the world around him or whether this mission is merely intended to stroke his own ego.
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