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. Inuk
    The film can boast of an exotic locale and rare potential, but in Mike Magidson's hands the filmmaking is disappointingly shopworn.
  2. Argento's Dracula 3D
    The film is dispiriting because there's virtually no sign of Dario Argento in it, nor of any novel motivation to mount yet another version of an oft-told tale.
    • tbd Metascore
    • 75 Critic Score
    The Dead Man and Being Happy
    At once familiar and enigmatic, Javier Rebollo's The Dead Man and Being Happy feels like a connect-the-dots film with a few lines artfully blurred.
  4. At Berkeley
    Frederick Wiseman's At Berkeley isn't only a study of the contemporary American university, but, like all of the filmmaker's best documentaries, a wide-ranging inquiry into the larger institutions and contradictions that define life in the United States.
  5. Let the Fire Burn
    An unnerving, all-archival account of Philadelphia citizens suddenly terrorized by the unchecked violence of rogue "law and order."
  6. I Used to Be Darker
    The songs performed here function as the creative end point of emotional trauma, revealing pain gradually transfigured into art.
  7. Linsanity
    The interpolations of "heavenly" sequences of Jeremy Lin playing basketball against CGI backdrops offer a hokey visual analogue for the intersection of faith and sports in his life.
  8. Gravity
    Alfonso Cuarón's triumph is an invigoratingly clean, elegant display of action choreography, a La Région Centrale you can still take grandma to see.
  9. Captain Phillips
    It works too hard to keep matters on an even, we're-all-more-alike-than-different keel, which is just one part of its chief problem of forcefully conveying information and intent.
  10. Bad Milo!
    It's fair to say that a filmmaker is thinking outside of the box when he or she stages a scene in which an ambulatory hemorrhoid tears a guy's cock off with its teeth and swallows it.
  11. Parkland
    The Peter Landesman film's overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for...something.
  12. Inside Llewyn Davis
    As played by an eloquently beleaguered Oscar Isaac, Llewyn Davis is arguably the most vivid and complex character the Coens have dreamed up since Marge Gunderson.
  13. Alan Partridge
    Director Declan Lowney's film operates from a conceit that affords only minor opportunities for true hilarity.
  14. A Touch of Sin
    As depicted by Jia Zhang-ke, the balance between the spoils and moral rot of murder are far preferable to the debasing rigors of tradition and hollow nationalism.
  15. Sunlight Jr.
    An admirable refusal to adhere to any overexposed poverty-porn templates, however, is taken a little too far in the opposite direction, to the point that the film feels self-consciously shapeless.
  16. Cloudy with a Chance of Meatballs 2
    This sequel strenuously works to form a total inversion of the first movie's relationship with food.
    • 68 Metascore
    • 63 Critic Score
    Inequality for All
    Robert Reich's message to America, much like director Jacob Kornbluth's uncomplicated film, is so simple and straightforward (you might even say obvious) that, without nitpicking, it can appear flawless.
  18. About Time
    A surprisingly thoughtful romantic comedy that shirks a great deal of reason and consequence in the name of love.
  19. Out in the Dark
    Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
  20. Baggage Claim
    Writer-director David E. Talbert adapts his own 2003 novel into something as useless as it is implosive.
  21. The Square
    A blistering portrait of rebellion against social discord, marginalization and oppression, and a call to arms for true democratic ideals of dignity, justice, and fairness.
  22. Le Week-End
    Both keenly calculated and flowing with offbeat, naturalistic detail, Hanif Kureishi's jewel of a script reflects his sensibilities as a playwright.
  23. Metallica: Through the Never
    The songs still sound great here, but the instruments aren't amplified nearly as much as the nostalgia and vanity of the men who wield them.
  24. Hôtel Normandy
    Another well-upholstered but cheap exercise in luxe pandering that fails as romantic farce.
  25. On the Job
    A nose-to-the-ground crime thriller that also doubles as a wide-ranging portrait of official corruption in the Philippines, On the Job has little trouble delivering the genre goods.
  26. Rush
    Ron Howard's by-the-seat-of-your-pants aesthetic makes the slower, darker sequences feel hurried and bland, especially when stacked up next to the racing sequences.
  27. Shepard & Dark
    Treva Wurmfeld's documentary addresses, and acutely analyzes, the way friendship can bend, and occasionally snap, over time.
  28. Dark Touch
    The film is beholden to a strange internal logic that gives primacy not to its protagonist's suffering, but to its maker's thirst for fun.
  29. The Wind Rises
    Even if Hayao Miyazaki's career is complete, a work like this serves to remind us of the shining beacons he's left behind him, the testaments to pursuing beauty in the face of so much ugliness, themselves lasting reminders of the quiet rewards of determination.
  30. We Are What We Are
    Jim Mickle plays the scenario deadly straight and unintentionally exposes all of its attendant absurdities, leaving the cast stranded.
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