Slant Magazine's Scores

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For 7,767 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: 4,344 out of 7767
  2. Mixed: 1,490 out of 7767
  3. Negative: 1,933 out of 7767
7767 movie reviews
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    • 69 Metascore
    • 75 Critic Score
    Ginger & Rosa
    With Ginger & Rosa, Sally Potter manages to avoid nearly every pratfall of such period pieces, focusing on extreme alienation rather than enlightenment, and wringing a powerful and jaundiced coming-of-age story from the decade's less trod corners.
    • 66 Metascore
    • 75 Critic Score
    Genius on Hold
    Though overstuffed, his film eschews pop-doc conventions by opting for in-depth analysis over superficiality.
  3. Molly's Theory of Relativity
    The characters never sound like they're actually talking to one another, but rather delivering Jeff Lipsky's echo-chamber monologues.
  4. Phantom
    Todd Robinson's film is a third-rate submarine-set drama until, in its final moments, it sinks to fourth-rate.
  5. A Place at the Table
    More difficult to convey are the web of moral and political issues that surround the hunger crisis, and A Place at the Table proves its worth most by how it treats this wider set of problems.
  6. Stoker
    The film's weird mix of dollhouse dread and fashion-magazine chic can be fetching, but it's nothing if not vacuous, a series of disjointed, improvisatory riffs that recall the brazen aesthetic overload of Amer.
    • 81 Metascore
    • 100 Critic Score
    Leviathan
    Leviathan is a titanic achievement, a visceral overload whose impact registers immediately and with great force.
    • 50 Metascore
    • 38 Critic Score
    Dark Skies
    Scott Stewart's Dark Skies is the definitive horror film for the Tea Party era.
    • 93 Metascore
    • 75 Critic Score
    Tristana (re-release)
    There are more than a few striking images and intriguing ideas to be extracted from Tristana. [10 Oct. 2012]
  10. Red Flag
    It surprisingly abandons its obvious meta elements and unfolds as a straightforward road-trip flick, opting for an exhibition of self-loathing rather than self-reflexivity.
    • 51 Metascore
    • 25 Critic Score
    Snitch
    Snitch is the latest in a long line of films whose sole purpose is to flatten a major social problem into a pulp ideal for self-serious spectacle.
    • 68 Metascore
    • 63 Critic Score
    One Life
    As much as Daniel Craig's narration can feel tacked-on, it's really secondary to the film's expert camerawork.
  13. Inescapable
    The film spins its wheels for almost an hour until collapsing under the weight of exposition that renders the mystery nearly besides the point.
  14. Bless Me, Ultima
    The film's interest in social themes remains background fodder within a far more generic good-versus-evil narrative.
    • 71 Metascore
    • 88 Critic Score
    11 Flowers
    Because of its choice in subjectivity, and despite the film's historical context, 11 Flowers firmly elevates the experience of the personal over the political.
  16. Rubberneck
    The film takes on high-concept ideas that it can't sustain, and which only make its other problems more obvious.
    • 21 Metascore
    • 38 Critic Score
    Saving Lincoln
    Under even the best of circumstances, Saving Lincoln would have to inevitably face the scrutiny of potential redundancy.
  18. The Berlin File
    The film is a sporadically entertaining, modestly ambitious shoot 'em up that frequently succumbs to spelling out its subtext.
  19. Shanghai Calling
    If you prefer your social commentary in the form of a glorified sitcom with broad humor and even broader caricatures, look no further.
  20. Safe Haven
    It goes without saying that Safe Haven is the whitest thing offered up for public consumption in the three days since Mumford & Sons won the Grammy for Album of the Year.
    • 28 Metascore
    • 25 Critic Score
    A Good Day to Die Hard
    The film feels like it was reverse-engineered from its "Yippee Ki-Yay Mother Russia" tagline, a wholly generic international actioner barely distinguished by the presence of Bruce Willis's banner hero.
    • 38 Metascore
    • 38 Critic Score
    Almost in Love
    The film spoils the charm of its concept in the way it confuses the wish to be a Woody Allen-Julie Delpy lovechild with a cramping formalism that borders the theatrical.
  23. The Jeffrey Dahmer Files
    Teasing out a subversive portrait of a complex and rather subdued monster, The Jeffrey Dahmer Files unfolds with the same meticulousness exemplified by the eponymous serial killer.
  24. Beautiful Creatures
    Beautiful Creatures basically spits in the face of a legacy of literature founded on feelings of exclusion and social alienation.
  25. Ferlinghetti: A Rebirth of Wonder
    Christopher Felver is too reverent to properly convey the invigoratingly profane, angry messiness of the sense of community that Lawrence Ferlinghetti and his peers too briefly brought to life.
  26. Would You Rather
    A shrill Indiewood torture porn that, despite promised shocks and revulsions, doesn't even have the conviction to hold its camera on the story's most appalling twists.
  27. No
    A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.
  28. Identity Thief
    Melissa McCarthy is riveting in simply-penned moments of remorse and confession, adding tearful depth to her ace timing and formidable physical comedy.
  29. A Rubberband Is an Unlikely Instrument
    It's as though the director, like his subjects, was too comfortable in the safe familiarity of the surface to find the place where it betrays us.
  30. Lore
    Copious amounts of landscape and wilderness shots cover up its schematic plot, as its indirect visual allusions take precedence over thematic development.
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