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 Final Member
    A potential barroom joke blossoms into a surprisingly poignant portrait of three aging men wrestling with how to shed their mortal coil.
  2. Authors Anonymous
    It takes the easiest approach to every scene, haphazardly juggling different tones without integrating them into a cohesive and consistent thematic identity.
  3. Tasting Menu
    There's a sinister, even insidious quality to a film that insists upon using incessant food montages not as a source of passion, but fodder for class-based self-congratulation.
  4. Proxy
    It transforms itself from a meek lo-fi indie stalker thriller in the key of May to a hysterically sexist and homophobic revenge film.
  5. Kid Cannabis
    The film works best when it shows Jonathan Daniel Brown's drug kingpin at his most inept and incapable, rather than elevating him to a pothead martyr.
  6. A Promise
    Patrice Leconte struggles to find a coherent rhythm, a problem exacerbated by a hurried running time that compresses some of the novella's more interesting socio-political nuances.
  7. Manakamana
    Filmmakers Stephanie Spray and Pacho Velez insist that altered spectatorship, particularly patience and duration, is the foundation of cinematic edification.
  8. Fading Gigolo
    The question of why one should actually work up any emotional investment in what happens to these people is never really answered, much less asked in the first place.
  9. 13 Sins
    Daniel Stamm's film is solidly helmed, if expectedly over-reliant on unnecessarily grisly comeuppances that leave nothing to the imagination.
  10. Draft Day
    The cruelly obvious third act congeals the film as a wet-eyed monument to the Kevin Costner character's particular brand of American manliness, one that values gut instinct, it's implied, over cold and ruthless calculations.
  11. The King of Escape
    Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
  12. Rio 2
    The net effect is a shapeless would-be diversion in which things just happen independently, a string of effects missing any cause.
  13. Hank and Asha
    As the film is focused solely through the lens of the titular characters' cameras, this limits the exploration of the story's worldview outside of Hank and Asha's perspective.
  14. Cuban Fury
    The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.
  15. Joe
    Director David Gordon Green finds a balance between symbolism and realism in his storytelling that allows the film to be many things at once.
  16. Hateship Loveship
    It ultimately offers little more than another opportunity for famous actors to indulge their fetishistic, inadvertently condescending impressions of "everyday" people.
  17. Oculus
    Through a mini-triumph of montage, what begins as run-of-the-mill backstory vomit is thrillingly repackaged as an almost-Lynchian duet between warring states of consciousness.
  18. Island of Lemurs: Madagascar
    What results is a lopsided, put-upon narrative of survival where humans, and not the animals themselves, are the ones to be celebrated.
  19. 10 Rules for Sleeping Around
    For a film so bent on naturalizing the presumably hilarious incongruity of "the sexes," it sure features lots and lots of that site of horror: a naked male body. And for comedic purposes, of course.
  20. Captain America: The Winter Soldier
    Despite one or two moments of Venture Brothers-worthy fancy, the film is as by-the-numbers as any this series has ever offered.
  21. In the Blood
    Aside from being another rote addition to the revenge-film canon, John Stockwell's In The Blood is also a supreme waste of Gina Carano's talent.
  22. Watermark
    By keeping explanatory talking-heads interviews to a minimum, the filmmakers put their trust in the audience to draw their own conclusions based on what they present to us.
  23. The Unknown Known
    Viewers' tolerance for Errol Morris's apparent sheepishness will hinge on their prior appreciation of the filmmaker's investigative acumen.
  24. The Galapagos Affair: Satan Came to Eden
    The material and resources are certainly substantial, but the filmmakers clumsily weave separate stories together without detailing anything beyond a tangential relation.
  25. Goodbye World
    The tetchy band of thirtysomethings' interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.
  26. Nymphomaniac: Volume II
    The sex in Nymphomaniac is inhuman, mechanical, boring, and predictably viewed through the (male) scrim of someone who characterizes women solely as withholders.
  27. Flex Is Kings
    Putting aside the generic human interest, the film turns out to be shockingly deficient in its on-screen depiction of flexing.
  28. Under the Skin
    Throughout, what truly matters to director Jonathan Glazer is articulating through visual and aural enticement the unconscious power of our death drive.
  29. Alien Abduction
    A few jolting scares are deployed throughout, but more difficult to shake is how the story's overacting lambs walk a rather programmatic path toward slaughter--or at least anal probing.
  30. The Retrieval
    Less old-fashioned than demure and passé, evoking the visual style and rhythms of a 1990s made-for-TV movie rather than a daring, revisionist independent feature.
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