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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  1. The Sessions
    It's the rare film to sell sex as something truly tender and life-affirming, and Helen Hunt, in particular, is lovely and poignant.
  2. Yogawoman
    It's less a film than an unimaginatively assembled series of talking heads.
    • 31 Metascore
    • 12 Critic Score
    Just 45 Minutes from Broadway
    Henry Jaglom applies what must by now qualify as a tradition of pointless agitation to the disruption of theater. Unsurprisingly, the results are disastrous.
  4. Cloud Atlas
    Its ideas are paralleled, its themes twinned, sometimes breathlessly, sometimes fatuously, into what may be described as a 164-minute pop song of seemingly infinite verses, choruses, and bridges. Perhaps expectedly, it soars as often as it thuds.
  5. Flight
    A unique, audacious studio movie, kicking off as a star-driven spectacle before whittling itself down to a raw and riveting character study.
  6. Alex Cross
    Expositional and often self-serious to the point of genuine awkwardness, the dialogue is never as haltingly unconvincing as when it's attempting to give some approximation of Alex Cross's essential looseness and good humor.
    • 71 Metascore
    • 88 Critic Score
    Bestiaire
    Bestiaire argues persuasively without words, making a case without explicating one at all.
  8. Sexy Baby
    What the documentary lacks in the way of sophisticated filmmaking it compensates for with an earnest insistence on open dialogue.
  9. We Are Legion: The Story of the Hacktivists
    The doc's straightforward and chronological structure is its own worst enemy.
  10. The First Time
    Sex and love are both novel experiences for two high schoolers in this talky affair that suggests a hybrid of Before Sunset and Some Kind of Wonderful.
  11. All Together
    The film is somewhat flimsy, tinged with the impulse to make the elderly characters just the right amount of ridiculous for the benefit of younger viewers.
  12. Holy Motors
    Léos Carax's maddening, self-satisfied, though never smug, game of spot-the-reference seems intended only for a particular type of cinephile.
  13. That's What She Said
    An embarrassing girls-behaving-badly indie romp you'd expect a group of friends to write after an all-you-can-drink brunch.
  14. Nobody Walks
    The whole thing comes out feeling kind of featureless, beaten flat by its own sense of fairness.
  15. The Flat
    Accusation is the rhetoric of outrage, and Arnon Goldfinger can't bring himself to experience even conservative anger, regardless of its appropriateness.
  16. The Loneliest Planet
    Much of the film's final act is given to alienated walking, which too often plays as an abstract study of triangular arrangements in which non-speaking figures move across a barren terrain.
  17. The Thieves
    A dazzling heist film that can't help but come off as duly influenced by Steven Soderbergh's Ocean's trilogy, South Korea's number one box-office champ of all time is never less than clever.
  18. Smashed
    Smashed touches on the awkward perversity that often comes from seemingly pure emotions and intentions, and turns a noticeable, if slightly analytical, eye toward the selfish hurt and narcissistic projections inflicted by the perceived moral hierarchy against recovering addicts.
    • 53 Metascore
    • 63 Critic Score
    Split: A Deeper Divide
    As an election-season reminder that our democratic system isn't functioning, it serves as a welcome wake-up call
  20. The Iran Job
    Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film.
  21. Here Comes the Boom
    As a comedy, the film aims low and manages to miss the mark entirely.
  22. Argo
    Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
  23. Middle of Nowhere
    In a cinema landscape where the representation of the black female experience is most visibly explored through the modes of outlandish comedy, unironic melodrama, or not at all, Ava DuVernay's take is a decidedly refreshing one.
    • 66 Metascore
    • 63 Critic Score
    Seven Psychopaths
    If Seven Psychopaths smacks a bit showoff-y in places, it's only because Martin McDonagh has so much worth showing off.
  25. Sinister
    Ellison's fascination with celluloid to solve a crime recalls Antonioni's "Blowup," but Scott Derrickson is unable to conjure an aura that isn't as transparent and weightless as a ghost.
    • 41 Metascore
    • 12 Critic Score
    War of the Buttons
    By the time the drama is wrapped up with a bow and every child has learned a valuable life lesson, even the gap-toothed little tyke there solely for comic relief has begun to grate.
  27. Least Among Saints
    As a portrait of a self-pitying drunk's wet dream of inexplicable atonement, it's fairly effective, but as a story meant to take place on some rational version of planet Earth, it's utterly hopeless.
  28. Simon & the Oaks
    The film is at its best when it lingers on intimacy and the characters' incompetency to manage it.
    • 71 Metascore
    • 50 Critic Score
    The Big Picture
    Like its protagonist, the film sells out for the security of convention and complacency.
  30. Gayby
    While Jonathan Lisecki is well in tune with his film's niche market, his knack for comedy, both visual and verbal, is universally hilarious.
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