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. Lore
    Copious amounts of landscape and wilderness shots cover up its schematic plot, as its indirect visual allusions take precedence over thematic development.
  2. The Sorcerer and the White Snake
    The film looks so glossy, plasticized, and unreal that all you end up thinking about is special effects.
  3. The Playroom
    Lacking much in the way of character depth, the film attempts to fill the gap with melodrama.
  4. Porfirio
    Alejandro Landes's Porfirio is an ugly movie to watch, but it's not without purpose.
  5. Night Across the Street
    It's a final film in the specific sense of Raúl Ruiz designing the larger part of it around a metaphorical contemplation of his own, imminent demise.
  6. Caesar Must Die
    Deceptively modest on nearly all accounts, Paolo and Vittorio Taviani's Caesar Must Die employs seemingly minor directorial contrivances to ruminate on a unique quarrel.
  7. Warm Bodies
    It flouts convention in a number of ways in service of its genre-mash-up agenda while still contributing something original to the tradition of the zombie film.
    • 76 Metascore
    • 63 Critic Score
    Sound City
    Given Dave Grohl's reputation for versatility and good taste, the film's sturdy sense of forward motion may come as no surprise.
    • 61 Metascore
    • 63 Critic Score
    The Last Gladiators
    Makes room for tender moments of reflection from a guy who, against impossible odds, still managed some victories, the biggest of which may be that he's still standing.
    • 71 Metascore
    • 63 Critic Score
    Koch
    Neil Barsky is aware of how a great and terribly troubling person can reside in the same body, but his occasional eagerness to appoint himself as his subject's latest press agent is dubious.
  11. Little Fugitive (re-release)
    The film's beguiling visual poetry and smatterings of sociological subtext function less than coherently as transitional markers between cinematic epochs, or even as the nascent burblings of any imminent DIY revolution; instead, they're redolent of a modernist apotheosis.
  12. As Luck Would Have It
    Álex de la Iglesia's film hammers home the opinion that family is more important than celebrity or wealth.
  13. Bullet to the Head
    Walter Hill thoughtfully regards the pummeling power of weaponry at work.
  14. Mumia: Long Distance Revolutionary
    Purports to tell the true story of the titular imprisoned, controversially outspoken death-penalty opponent, but eventually degenerates into an orgy of congratulation.
  15. Girls Against Boys
    Essentially a horror movie in which the source of the horror shifts from capital-M men to crazed lesbianism.
    • 18 Metascore
    • 0 Critic Score
    Movie 43
    This is barely a movie at all, mostly due to its structural similarities to "SNL", but also because it acknowledges the fact that its own premises are inherently unfilmable.
    • 23 Metascore
    • 0 Critic Score
    Hansel and Gretel: Witch Hunters
    Tommy Wirkola's film suggests A Knight's Tale as penned by Seth MacFarlane.
    • 75 Metascore
    • 63 Critic Score
    Side Effects
    Like Magic Mike, Side Effects is enlivened by Soderbergh's jazzy style and laidback moralism, bringing to mind the work of another connoisseur of genre, Robert Altman.
  19. Yossi
    The film is at its finest as a catalogue of Yossi's unspoken ache, less so when it begins to flirt with the clichés of the love story.
  20. Nana
    Its meta-cinematic "think piece"-ness is redeemed by the slinky symmetries drawn between Massadian's own auteur-ship and the protagonist's narrative role.
  21. The Taste of Money
    For all the revelations about the way the rich operate, there's little juicy pleasure to be had in the proceedings.
  22. San Diego Surf
    Here, the glamorous and the infantile cohabitate on a casual level, and frivolity remains the Factory's default mode.
  23. Knife Fight
    Bill Guttentag exaggerates the absurd lengths advisors go to win an election and yet ultimately aggrandizes their behavior.
  24. Happy People: A Year in the Taiga
    It would be inaccurate to call Happy People: A Year in the Taiga the newest Werner Herzog film.
  25. John Dies at the End
    The frantic, grotesque imagery ironically only highlights Don Coscarelli's inability to truly cut ties with the constraints of accepted storytelling.
  26. The Pirogue
    Moussa Touré's worldview, like Ousmane Sembene's, is characterized by the feeling that, at the end of the day, some degree of loss or defeat is inevitable.
  27. Supporting Characters
    Glides from a mildly off-putting opening across several scenes that waver between sitcom superficiality and sudden, unexpected gusts of feeling, ultimately ending on a note of perfectly judged emotional ambivalence.
    • 42 Metascore
    • 38 Critic Score
    Parker
    Tonally, Parker's not so much broad or inclusive as weirdly schizophrenic, vacillating between flat comedy and spiked savagery, the product of a painfully slapdash script that also includes such laughable incidental dialogue as "pizza-I love that sh.t" and "beers and jewels, baby."
    • 76 Metascore
    • 63 Critic Score
    Like Someone in Love
    Plays out as a city-mouse rejoinder to the rustic, open-air daydream of Certified Copy, a snarl of thorny free jazz to that film's graceful aria.
  30. Greenwich Village: Music That Defined a Generation
    Director Laura Archibald's approach is fatally safe, often turning poets into self-congratulatory windbags.
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