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. Grandma, a Thousand Times
    Director Mahmoud Kaabour is Fatima's grandson, and she instantly seizes on--lightly, in her way--the guilt and panic that's inspired him to make this film.
    • Slant Magazine
      • Posted Feb 11, 2012
  2. Chronicle
    Offers up little more than a tired morality play about the dangers of power, rehashing stale insights about the narcissism of the documentary impulse.
  3. Richard Garriott: Man on a Mission
    Oh, the things that money can buy.
  4. Bonsai People: The Vision of Muhammad Yunus
    In the end, it feels unavoidably dull, as there isn't much thematic ambiguity to be found in the assertion that humans deserve life that's defined by more than indentured servitude.
  5. Safe House
    It'd be unwise to dismiss Safe House as merely a clone of Tony Scott's manically inclined vision.
  6. The Vow
    Very fortunately, there's an alternate universe swirling in the eye of The Vow's synthetic storm, a place occupied only by Tatum and McAdams, where the link between them cuts down the filmmakers' bad instincts.
  7. Private Romeo
    Private Romeo feels more like a side project from the producers of Glee than some kind of novel queering of Shakespeare's text.
  8. Journey 2: The Mysterious Island
    Prizes computer-generated wizardry above logical plotting or thoughtful character development, a misguided set of priorities exacerbated by the fact that said digital effects prove so chintzy.
  9. The Dish & the Spoon
    Doesn't waste a moment on recognizable reality, consumed as it is with checking off various items from its list of clichés.
  10. The Pruitt-Igoe Myth
    The film ends on a note of courage, and a call-to-action that we "remember," naturally, but we can't completely buy it: What Freidrichs has accomplished is a portrait of unknowability.
  11. Windfall
    Whatever the legitimate arguments Windfall makes against the industry it targets, Meredith's feuding becomes just as inaccessible as the windmills that incite it.
  12. In Darkness
    It's the rare film that should not introduce new story elements or characters past its first act. In Darkness, a garbage movie applying for unlimited credit on the most meager collateral, is that film.
  13. Undefeated
    What sets Undefeated apart from the usual underdog sports story is how the filmmakers emphasize the importance of mentorship as something separate from on-the-field interactions between coach and player.
  14. Return
    As director Liza Johnson understands, simply being over there changes someone, no matter if anything unusually traumatic happened to the person.
  15. The Miners' Hymns
    A study of the this former mining region in both its de-industralized present and its past state as an active coalfield, The Miners' Hymns arranges its two parts as a set of binary oppositions.
  16. Chico & Rita
    A shallow romanticization of Batista-era Cuba -- when the nation was a tropical paradise for the delectation of American jetsetters -- and what the revolution left in its wake.
  17. The Turin Horse
    Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus.
  18. Perfect Sense
    Visually glassy and smooth, Perfect Sense values the dynamic mood of each scene without being overly stylized.
  19. Big Miracle
    Any goodwill it boasts is terminally suppressed, buried beneath a layer of bullshit as thick as blubber.
    • 62 Metascore
    • 50 Critic Score
    The Woman in Black
    In the end, The Woman in Black displays a higher regard for the material makeup of gruesome-looking Victorian dolls than it does for the psychological turmoil of its characters, making one wish that some of the money it budgeted for cranes and fog machines had been offered to a script doctor.
  21. Splinters
    Adam Pesce never condescends to any of his subjects, but good intentions alone don't make for a captivating movie.
  22. Pretty Poison (1968)
    The movie's big joke is that Sue Ann turns out to be the potent, sociopathic one; for once, Perkins is out-psychoed by an honor-roll student who worries she'll be late for hygiene class.
    • 43 Metascore
    • 38 Critic Score
    Bad Fever
    In Bad Fever, Dustin Guy Defa's sad-sack indie drama about loneliness and urban ennui, a stand-up routine becomes an outlet for personal pain, the stage a place to unload baggage.
  24. Kill List
    It's a road movie of sorts, like the Steve Coogan/Bob Brydon comedy The Trip, only with fewer expert impressions and more inept executions, but lovely scenery just the same.
  25. The Innkeepers
    Winding up the tension to an almost stubborn degree, Ti West forestalls the inevitable disappointment of its release, a blow that's further softened by how immaculately the whole movie is shot.
  26. One for the Money
    One for the Money is like The Bounty Hunter by Andy Tennant, if you dipped it in self-tanner and strapped some Four Loko on it.
  27. Come Back, Africa (1959)
    A solid, affecting artifact of the cruelty of late 1950s South Africa, in which music often makes despair and long-suppressed anger bearable.
  28. Man on a Ledge
    The script is a hot mess of the highest order, taking some of the stalest chestnuts in the long, venerated legacy of the framed-cop-trying-to-clear-his-name genre and somehow f---ing it up, in scene after scene after scene.
  29. Five Time Champion
    A coming-of-age tale that, with every landscape cutaway and twinkling note from its xylophone-heavy score, begs to be taken as a dreamy slice of countryside profundity.
  30. After Fall, Winter
    Taking the pedestrian and decidedly unsexy American male to Paris so he can become a sexual human being attuned to life's small pleasures is a tired device that perhaps only Woody Allen could possibly resurrect from the stinky pile of cinematic clichés.
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