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 Machine Which Makes Everything Disappear
    It ever so subtly zeros in on the extreme particularities of a remote place to find something universal, or at the very least easily comprehensible about despair.
  2. Off Label
    Sincerely angry about the crisis in polypharmacy, this narrative suffers from a documentarian form of A.D.D.
  3. I Give It a Year
    Much of the film's attempted laughs come from the comedy-of-discomfort school, with an endless array of situations that milk awkwardness to a degree that makes these scenes far more unpleasant than humorous to watch.
  4. Drinking Buddies
    Less precise and cohesive than much of Joe Swanberg's recent work, as its small, improvisational skeleton struggles to meet the demands of the more ambitious story it's trying to tell.
  5. Elysium
    A cheekily gruesome and genuinely urgent entertainment, Blomkamp's latest nevertheless can't help but beg the question: Where's Snake Plissken when you need him?
  6. 2 Guns
    Viewer/character solidarity only holds up for so long, and the film falls hard into twisty, nonsense territory, skipping over its stronger themes in the process.
  7. The Artist and the Model
    This safe, solemn tale of an aged artist whose vitality is briefly revived by a pretty young thing is unconvincing as an articulation of the potentially spiritual nature of the artist/model relationship.
  8. The Canyons
    Paul Schrader and Brett Easton Ellis don't have the sense of play this kind of narrative of one-upmanship requires, as we're never allowed to enjoy the characters' misdeeds.
  9. Una Noche
    Una Noche tugged at my heartstrings, but the film's almost phantasmagoric fixation on sex can feel crass and dehumanizing.
  10. The Smurfs 2
    Raja Gosnell's particular zeal to modernize the Smurfs only develops this would-be family comedy into a shamelessly manipulative smurftastrophe.
  11. Lovelace
    Lost in the music, mustaches, and furniture of the early '70s, this docudrama of a porn star's exploitation isn't nearly painful enough.
  12. In a World...
    Lake Bell holds the thing together through sheer charisma, and in fact the foibles of the movie only start to show when she absents herself for extended stretches of time.
  13. Our Children
    It's occasionally too icily removed, but it compensates through its perpetual concern with understanding its characters and their untenable situations.
  14. When Comedy Went to School
    It confuses nostalgia for earth-shaking cultural upheaval, never really expounding on the actual effect of the Borscht Belt circuit's influence.
  15. Smash & Grab: The Story of the Pink Panthers
    It occasionally succumbs to the pitfalls of the mock-thriller kitsch it slyly dismantles, but it's made up for in a wry and experimental visual style that satirically paints a vibrant crime fantasia.
  16. Europa Report
    After a while, it's hard to escape the fact that the audience is watching a potential monster movie in which most of the fun stuff — i.e. the monster—has been pared away.
  17. Drift
    The obstacles that the Kelly brothers encounter are as uninspired as the film's treacly lessons about brotherhood and staying true to one's principles.
  18. Cockneys vs Zombies
    Matthias Hoene allows the cockney swears to flow as deliriously as the truly convincing blood splatter, offering a few unexpected gut-busters along the way.
  19. The Spectacular Now
    Given the film's early promise, it's unfortunate how it turns into a largely reductive Freudian character piece in which the main character has to come to terms with his old man.
  20. Postales (Postcards)
    Throughout the film, writer-director Jash Hyde avoids Paul Haggis's patronizing white liberal attitude toward class warfare.
  21. A Single Shot
    Content to faithfully hew to convention, A Single Shot rarely surprises, but its portrait of foolishness and fallibility, and its atmosphere of inevitable doom, remain sturdy and captivating.
  22. The Wolverine
    This may be the year's best superhero movie because, for a sufficient amount of time, it doesn't feel like a superhero movie at all.
    • 52 Metascore
    • 50 Critic Score
    Wasteland
    At heart a heist movie, snappy and dry in its humor, clever in its elaborate robbery scheme, and somewhat bloated and unspooled in its storytelling.
    • 27 Metascore
    • 38 Critic Score
    Stranded
    It may suggest an Alien incarnate, but once you get past its exterior, it's as empty as outer space.
  25. Terraferma
    Its self-seriousness never allows it to become the realist counterpoint to Aki Kaurismäki's tragicomic approach in Le Havre that one initially hopes it will be.
  26. The To Do List
    Essentially the film aims to trade in the awkwardness of teen sexuality, but too often settles for the gross-out gag instead.
  27. Frankenstein's Army
    The found-footage gimmick mostly comes off as window dressing for what turns out to be yet another mad-scientist-run-amok romp.
  28. First Comes Love
    Nina Davenport doesn't seem interested in taming her unwieldy vanity, and thus her documentary reads as a Match.com profile recontextualized as cinema narcissismo.
  29. Blue Jasmine
    One of Woody Allen's strongest and most pointed films in over a decade despite mildly falling victim to his recent propensity for clunky narrative development, cynicism, and stereotypical characterizations.
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