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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    • 86 Metascore
    • 88 Critic Score
    Beasts of the Southern Wild
    Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
  2. Take This Waltz
    Take This Waltz is full of chance encounters, some less likely than a lobby with nine hundred windows or a bed where the moon has been sweating.
  3. Ordinary Miracles: The Photo League's New York
    Nina Rosenblum's love letter never attains that essence of ambiguity that makes the best nonfiction films live on after the credits fade.
  4. Abraham Lincoln: Vampire Hunter
    The script leaps forward with an absurdity almost as great as Lincoln's own strength.
    • 60 Metascore
    • 50 Critic Score
    Men on the Bridge
    If director Asli Özge has said something about modern-day Istanbul, she's done it in fairly broad strokes that may be too far apart for the sake of a discernible narrative.
    • 62 Metascore
    • 75 Critic Score
    Nate & Margaret
    Nathan Adloff's Nate & Margaret is an endearing, hopeful, and quietly radical film.
  7. The Last Ride
    A typical wax-museum reproduction of the American South in which every detail is Southern in bold all caps, and not a single scene over the course of the film's 102 minutes rings true.
  8. Seeking a Friend for the End of the World
    A predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
  9. Kumaré
    Kumaré has a premise that could've been the launching point for one of Sascha Baron Cohen and Larry Charles's satirical outrages.
  10. To Rome with Love
    "With age comes exhaustion," according to a rueful line late in the film, and it serves as a fitting diagnosis for Woody Allen's latest fallen souffle set in a European cultural capital.
    • 75 Metascore
    • 75 Critic Score
    The Invisible War
    Kirby Dick's spartan use of graphics and statistics conveys arguments with little grandstanding.
    • 69 Metascore
    • 50 Critic Score
    Brave
    Pixar's latest ultimately offers nothing more than a caricature of a well-worn conceit.
  13. The Girl from the Naked Eye
    The Girl from the Naked Eye has heart, which is more than can be said of some other recent genre throwbacks, but it ultimately makes barely a splash.
  14. That's My Boy
    That's My Boy lazily exists in a fantasyland of Adam Sandler's perpetual adolescence, even as it generates some moderate comic friction from Sandler and Andy Samberg's testy back-and-forth.
  15. Rock of Ages
    If the Adam Shankman film's debasement of its subject into campy kitsch is the unavoidable fate of all culturally dangerous art, that doesn't make it any less palatable.
  16. The Woman in the Fifth
    Pawlikowski has crafted a film that throbs with substantial personal weight and bristles with a violent, haunting interior life.
  17. Marina Abramovic: The Artist Is Present
    As entertaining as the documentary is, it never really measures up to the fascination and sheer force of personality of its subject.
  18. The Tortured
    Robert Lieberman's Perverted Justice advert spins its wheels with scene after scene impatiently cut like a montage sequence.
  19. Kite
    Far more concerned with indulging a slightly less glossy Slumdog Millionaire-like aesthetic than dealing with the frayed relationships of its characters.
    • 55 Metascore
    • 88 Critic Score
    Extraterrestrial
    In almost every respect, Extraterrestrial is an exceptional and traditional romantic comedy. It just happens to be set during an alien invasion.
  21. El Velador
    El Velador doesn't pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
  22. UFO in Her Eyes
    The serio-comic technique and ping-ponging aesthetics ultimately make for a winning approach.
  23. Tahrir: Liberation Square
    A direct-cinema document of the Cairo protests that toppled Mubarak, Stefano Savona's film doesn't pretend that Egypt's resolution has yet won a lasting victory.
  24. Your Sister's Sister
    For long stretches in its first two acts, Lynn Shelton's film is distinguished by a disarming sense of freedom and spontaneity.
    • 64 Metascore
    • 38 Critic Score
    Prometheus
    It aspires to Stanley Kubrick's "2001", but in its maddeningly unresolved plot threads and cornball cosmic mysticism, it lands closer to "Mission to Mars" -though Prometheus lacks any action set piece as gripping as the Brian De Palma film's sentient sandstorm.
  26. Patagonia Rising
    Director Brian Lilla alternates between talking heads and animated graphics to elucidate first how dams work and, obligatorily, to put a human face on those who would be affected.
  27. We Won't Grow Old Together (1969)
    A wild, furious, and genuinely unsettling ego is on display in Maurice Pialat's second proper feature.
  28. Paul Williams Still Alive
    The film too often undercuts its goals by indulging its director's need for self-affirmation at the expense of the movie's far more compelling central subject.
  29. The Oregonian
    It's the kind of movie you'd find in someone's VHS collection, decide to watch based on the box art and title, and end up switching out for "The House of the Devil" instead.
  30. Dark Horse
    Yesterday, Solondz blocking the screen meant something, even if it was just his own petulance. Today, a blurred sign only signifies his capitulation to peer pressure.
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