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. Dom Hemingway
    That Dom is so clearly an up-to-11 caricature, embodied with reliable pizzazz by Jude Law, makes the sentimental moments feel especially false.
  2. Sabotage
    There's no sense of visual artifice to match the ludicrous pitch of the script, and subsequently, the film comes off as awkward and uncertain.
  3. Noah
    Once the money shots of Darren Aronofsky's version recede, it becomes ever more clear that his intention is to tackle the capriciousness of Old Testament logic. And, ultimately, to assent to it.
  4. Finding Vivian Maier
    This is less a portrait of an artist as a young woman than a psychological evaluation of a slippery subject.
  5. Hide Your Smiling Faces
    Daniel Patrick Carbone's pensive style, so dotted with ethnographic detail, is interested in revealing a world in flux, but his fixation on death is so incessant that it situates the film as a morose fetish object.
  6. Go Down Death
    The end result is a bit like a beautiful diorama, in which the people share a common purpose with the furniture: to fill space and look nice.
  7. Cesar Chavez
    Not unlike Michael Peña's prior supporting roles, Chavez is marked by an explosive anger kept under a cherubic, sweet-natured mask, providing the surprise lacking in the story's text.
  8. Refuge
    The problem with the film isn't the contrivance of its premise, it's that writer-director Jessica Goldberg doesn't know it's contrived.
  9. Mistaken for Strangers
    Adds up little more than an anguished man using the hook of following his famous brother in order to gaze, however critically, at his reflection for 75 minutes.
  10. Breathe In
    Seemingly high-brow because it's so low-key, but underneath that veneer is an inert, thinly plotted melodrama premised on trite characterizations that would be offensive if they weren't so absurd.
  11. The Raid 2
    It's all showy viscera, no ballet, and wan attempts at the gravity of something like Drug War, with implicit statements made about the deadening nature of violence or the moral equivalency of state-sanctioned and criminal force, don't come close to cohering.
  12. Brothers Hypnotic
    There are grudges held amid all the good will, an intention of the Hypnotic Brass Ensemble to do things on their terms, and those terms stem directly from their upbringing.
  13. Blood Ties
    What Lumet or Cassavetes often showed with a look, an image, a movement, Canet chooses to tell, and often at length, with the most heavy-handed dialogue imaginable.
  14. Obvious Child
    Whatever your foreknowledge of low-budget Brooklyn dramedies, it's impossible that Gillian Robespierre's film won't lob you at least a few curveballs.
  15. The Babadook
    Its horrors go beyond any single raggedy phantom, reaching back to the primordial fear of death and loss: of a child, of a loved one, of one's own sense of self.
  16. A Birder's Guide to Everything
    The film exhibits strong character interplay and resides in an unconventional milieu, in effect turning rote material into something that feels decidedly eccentric.
  17. Rob the Mob
    For the most part, it's a gas, but the light touch Raymond De Felitta gives the material is at once its saving grace and its tremendous limiter.
  18. Cheap Thrills
    The film's clearest winner is Pat Healy, whose depiction of a man willing to corrode his entire life to provide for his wife and kid feels true despite the script's silliest moments.
  19. Muppets Most Wanted
    Freed from the burden of starting anew, the film restores the Muppets' rightful place as stars of their own show.
  20. Maladies
    It borders on parody as it tries to portray its hero as martyrdom-bound genius, which makes the film feel as if it was made by Franco's vain, art-fetishizing character from "This Is the End."
  21. Jodorowsky's Dune
    This is a fanboy movie, one more engaged with the excitement of possibility than that of reality, and whatever the noxious connotations of that form of film appreciation, this particular project does a pretty fantastic job of stirring up enthusiasm.
  22. Divergent
    The film transcends the déjà vu of its borrowed trappings but ironically sacrifices all momentum in favor of a long series of physical tests.
  23. The French Minister
    With its broad performances, rapid-fire pacing, and rampant visual and verbal gags, Bernard Tavernier's first out-and-out comedy doesn't try too hard to hide its graphic-novel origins.
  24. Just a Sigh
    When Jérôme Bonnell allows his two magnificent leads to work at the sparse dialogue, he invokes a powerful, elemental sense of frank, sexual discussion and high-end flirtation, imbuing the relationships with a maturity that's loathsomely rare in films today.
  25. It Felt Like Love
    Eliza Hittman's film captures the exclusive properties of sex with a degree of intimacy and empathy that, at times, feels authentically revelatory.
  26. Buzzard
    This is a study of a man who's hard to like, harder to dismiss, and impossible to pigeonhole.
  27. Salvo
    The filmmakers' very particular sense of lighting and framing, though handsome, often exudes a formality that perpetually stifles the story's sense of spontaneity.
    • 64 Metascore
    • 75 Critic Score
    Nymphomaniac: Volume I
    But whereas female sexuality was borderline vampiric in Antichrist, this time we're in more ambiguous, contextually richer terrain, where desire is complicated not only by love, but also by a deep need for self-determination, and pride.
  29. Teenage
    It botches itself out of its own epic ambitions, an aesthetic slickness that seems to contradict, if not betray, its subject matter, and a maddeningly subdued critical spirit.
  30. The Double
    Whatever the film's interest may be in the marginalized, writer-director Richard Ayoade never alludes to what would even be worth fighting for in this nightmarish industrial landscape.
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