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. The One I Love
    The film gets too caught up in the semi-farcical comings and goings of the two Sophies and Ethans to explore any of the issues it raises about relationships very deeply.
  2. Supermensch: The Legend of Shep Gordon
    A glorified act of hero worship that leaves one hard-pressed to form any conclusion other than an infinitely positive one about Shep Gordon.
  3. More Than the Rainbow
    The film's segments move seamlessly from one topic to the next with the unselfconscious ease of a good dinner party.
  4. The Amazing Spider-Man 2
    The narrative doesn't want for ambition, but Marc Webb proves unwilling, or incapable, of making this unwieldy story feel like anything but a deluge of backstory.
  5. Mr. Jones
    That it half succeeds, in spite of its cloying self-seriousness, means that it's at best a convincing copycat of a definitive expression of ego and influence in art.
  6. The M Word
    Like a number of cult directors to emerge in the 1970s, Henry Jaglom values a party atmosphere at the expense of narrative cohesion.
  7. Beneath the Harvest Sky
    It flourishes in the spaces between the plot's necessary setups and subsequent payoffs, which is nearly enough to redeem the film if not for the narrative going belly up in the third act.
  8. Decoding Annie Parker
    This isn't a film of bedside conversions or radical emotional transformations, nor is it a story about laughing at one's own hardships as a coping mechanism.
  9. Blood Glacier
    The film straddles a very awkward line between creature feature, conspiracy thriller, and domestic drama, all without novelty or suspense.
  10. Belle
    The film is concerned largely with intellectual horrors and portrays the fight against slavery rather neatly as a growing feeling of internal guilt that slowly turns society toward the light.
  11. Brick Mansions
    Only the very charitable would characterize this strain of providence as anything other than dumb, or at least incredibly forgetful.
  12. The Quiet Ones
    If the stock concessions made to genre cliché by The Woman in Black can be charitably viewed as deliberate tips of the hat to the heyday of Hammer Films, then John Pogue's period-set exorcism yarn The Quiet Ones more interestingly upends those tropes.
  13. Palo Alto
    It presents little that wasn't already done better in "Myth of the American Sleepover," an equally evocative tale of longing that was far more successful at matching teen tropes with atmospheric naturalism.
  14. Chef
    Jon Favreau's film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
  15. The Other Woman
    The film is clearly wary of either being too saccharine or taking itself--or the notion of compulsive infidelity--too seriously, though its schadenfreude is unwavering.
  16. Land Ho!
    That the filmmakers consistently catch the nuances of character that bind the two men to each other, rather than simply tracing the pros and cons of their dispositions, is what gives the film its melancholic yet vibrant resonance.
  17. Venus in Fur
    After years of respectable filmmaking, it's refreshing to witness a reinvigorated Roman Polanski willing to once again delve deep into seedy psychodrama.
  18. The German Doctor
    In Lucía Puenzo's film, things always feel off balance even as the plot points click all too neatly into place.
  19. Night Moves
    Like Michael Cera's two recent films with Sebastian Silva, Night Moves reveals the dark core contained within an actor's nice-guy neuroticism.
  20. Bicycling With Molière
    Even though the subtext about the past and modernity constantly being at odds throughout the setting's changing times is intriguing, the director presents this in a clunky, almost didactic fashion.
  21. Lucky Them
    It labors under the illusion that an abundance of Sub Pop memorabilia is adequate substitute for the honest evocation of a creative subculture and the personalities of which it's composed.
  22. Who is Dayani Cristal?
    As informative, revealing, and occasionally poignant as some of the unearthed revelations are, the doc is ultimately hampered by a level of self-congratulation that nearly undoes its effectiveness as an activist polemic.
  23. Young & Beautiful
    The film's increasingly unnerving story mostly unfolds with minimal flair, intensely focused as it is on its steely and enigmatic protagonist.
  24. For No Good Reason
    Charlie Paul isn't content to let his stock footage and interviewees lead for him, driven as he is to "make something out of a frame of mind," though to needlessly busy effect.
  25. Blue Ruin
    By reducing its principals to stock figures in an extended chess game, it ends up providing steady, neatly staged thrills, but little else of substance.
  26. Locke
    The literalizing of Ivan Locke's hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
  27. Transcendence
    If you programmed an algorithm to figure out how The Lawnmower Man might be retold by Snake Plissken at the conclusion of Escape from L.A., you'd still wind up with a more recognizably human effort.
  28. That Demon Within
    It rarely feels like anything more than an effort to pander to the kind of audiences that enjoy Quentin Tarantino's films for all the wrong reasons.
    • 64 Metascore
    • 88 Critic Score
    Soft in the Head
    Nathan Silver captures the young-adult experience, particularly the agony of first sexual pangs, in films that deftly mix beguilement and repulsion.
  30. Heaven Is for Real
    Heaven Is for Real is by Christians, for Christians, and deliberately, if subtly, antagonistic toward everyone else.
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