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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    • 58 Metascore
    • 63 Critic Score
    Norwegian Wood
    Even if this Haruki Murakami adaptation amounts to a gorgeous but lethargic emo ballad, there's no denying the stately lyricism of its melancholy.
  2. Beneath the Darkness
    Overly expository dialogue abounds throughout Martin Guigui's movie, as do questionable filmmaking choices and plenty of stupidly unconvincing actions taken on the part of the film's characters.
  3. Once Upon a Time in Anatolia
    Nuri Bilge Ceylan has to be the least kinetic of working filmmakers - and not simply in the sense of static camerawork or lack of narrative momentum.
  4. A Separation
    Barriers both transparent and persistently present encase the characters of A Separation, constricting them in ways social, cultural, religious, familial, and emotional.
    • 18 Metascore
    • 0 Critic Score
    The Darkest Hour
    In a year-end season stacked deep with worthwhile films, what possible incentive could there be for submitting to The Darkest Hour's utter pointlessness?
  6. Angels Crest
    Angels Crest opens with the laughter of children at play, but that's the only hint of happiness you'll find in this unflinchingly manipulative and pointless morality play.
  7. Extremely Loud and Incredibly Close
    This film buries its soul beneath its own pretentious rubble, and the youthful, labyrinthine mind in which it places viewers feels less like an offbeat vehicle for healing than it does a kaleidoscopic prison.
  8. El Sicario: Room 164
    A lot of evil is laid on the table in El Sicario, and the film makes a big, if exquisitely subtle show, of theorizing that there's no way to explain how it got there.
  9. War Horse
    What ultimately hobbles War Horse is a two-pronged attack, with Spielberg's soft-sell producing an unfortunately dramatic flatness in almost every scene, while an 11th-hour scramble for picture-book catharsis doesn't seem to work either.
  10. Miss Minoes
    After 30 long minutes, I stopped trying to make allowances for its varying ineptitudes, and Carice van Houten's work as the spunky human cat was the only reason I held out that long.
  11. Albert Nobbs
    Perhaps thrown by the challenge of having to direct women as men and not just as themselves, director Rodrigo Garcia turns in what may be his poorest effort to date, opting for a nearly airless tone, presenting a look that's sadly un-cinematic, and presiding over a collection of performers that seem to be operating on very different planes, and with accents of varying thicknesses.
  12. The Flowers of War
    This film has too many weak, unconnected strands (what's the subplot about the narrator's father doing here anyway?), too much overtly expositional dialogue, and too unfocused a narrative to really cohere. And then there's that whole matter of expendable whores.
  13. In the Land of Blood and Honey
    When does intensity and commitment supersede historical understanding?
  14. Alvin and the Chipmunks: Chipwrecked
    It's that rare thing, a movie that clocks in under 90 minutes, but feels like an endurance test in every moment, at every plot concern, and every musical number.
  15. Sherlock Holmes: A Game of Shadows
    Wither the rollicking verve and whip-crack humor in Sherlock Holmes: A Game of Shadows?
    • 73 Metascore
    • 50 Critic Score
    Mission: Impossible - Ghost Protocol
    The Mission: Impossible franchise seems almost crudely mercenary in its formula for success.
  17. Sleepless Nights Stories
    A freeform, New York-based variation on the Arabian Nights tales by Jonas Mekas is both a pan-narrative and a disarming portrait of its sweetly curious maker.
  18. The Pill
    At the very least, The Pill could have been a pleasant exercise in screenwriting sharpness if Fred and Mindy's situation had been confined and (un-)resolved within the confines of its very promising first scene.
  19. Deep End (1970)
    Deep End is as soaked in pheromones and nervous electricity as Mike, but he's as much a product of the world of desire that surrounds him as one of its participants, and when the end finally comes, there's only a reprise of earlier dream imagery to suggest that there was anything other than a spasmodic, hormonal twitch involved in bringing about its conclusion.
  20. Cook County
    Unlike AMC's Breaking Bad, meth here doesn't reflect current, perilous economic realties; rather, it's just a low-rent drug used by degenerates whose lives say nothing about anything.
  21. The Girl with the Dragon Tattoo
    The difference between Niels Arden Oplev's adaptation of Stieg Larsson's The Girl with the Dragon Tattoo and David Fincher's own is not, as some might have hoped, the difference between night and day, but between curdled milk and a warmed-over holiday second.
  22. The Iron Lady
    The wonder and terror of Meryl Streep's performance in The Iron Lady is her formidable ability to nail the disheartening talents of not just Margaret Thatcher, but so many conservative politicians like her, who have a tremendous knack for changing minds and beckoning cheers while underlining their own rigid ignorance.
  23. Addiction Incorporated
    The most dramatic material, such as Victor DeNoble's much-applauded congressional testimony, more or less traffics common knowledge without bothering to provide fresh emotional context.
  24. W.E.
    W.E.'s is a kind of dynamic pleasure that allows for non-shameful identification with the feminine and a fantasy of becoming what we see.
  25. We Bought a Zoo
    Far more concerned with pratfalling animal shenanigans and unearned uplift than crafting a single complex or amusing moment, it's a film caged in by formulaic plotting and plentiful pap.
  26. Pariah
    It's important to talk at length about Pariah's aesthetic because of how it distracts from the emotional truthfulness of the sometimes heartbreaking, by and large gorgeously performed story.
  27. Seducing Charlie Barker
    Charlie is a stereotype who doesn't know it--basically your typical broke dude in a near midlife crisis who thinks he's the first to have his dull problems.
  28. Young Adult
    Pairing again after the mad success of "Juno," Cody and Reitman prove a canny team when it comes to capturing frank yet polished modernity, getting at truths of the here and now even if a certain excess of gloss denies them the full Americana humanism of someone like Alexander Payne.
  29. Daguerreotypes (1976)
    Like many of Agnès Varda's similarly themed explorations, the results are more than they initially seem, casual anthropology with a strongly humanist bent, resulting in a film that's fueled more by compassion than curiosity.
  30. The Sitter
    An ugly rendering of an infantile script that constantly exploits stereotypes for cheap guffaws, and employs the hollow trend of hoping ultra-specific, zeitgeisty lingo will distract from inert, derivative storytelling.
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