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. I'm Glad My Mother Is Alive
    An understated--and at times, clinical to a fault--Oedipal drama of long-simmering resentment and familial love's ambiguities, I'm Glad My Mother Is Alive risks bringing chilly subjectivity to sensational raw material.
  2. Rebirth
    If Rebirth's subjects are active guides documenting a fluid psychological landscape, Jim Whitaker constructs a specific cinematic geography around them with stunning time-lapse photography of Ground Zero.
  3. Colombiana
    Zaldana is such a sultry and surprisingly heartfelt executioner that she often finds a way to make this by-the-numbers genre retread feel, if not fresh, then at least sporadically electric.
  4. Love Crime
    The film is less corporate parable than intricately crafted revenge drama whose intensively detailed plotting can't hide the fact that the whole thing seems like a lot of work for a glaringly modest payoff.
  5. A Good Old Fashioned Orgy
    Avoids funny one-liners like the plague, choosing in their place to deliver only squishy faux-outrageousness that, like Sudeikis's one-note stud, exudes an unwelcome air of self-satisfaction.
  6. Gainsbourg: A Heroic Life
    Handsomely mounted and shot with an eye for nocturnal Parisian mystery by Guillaume Schiffman, Gainsbourg somewhat mercifully peters out after the grande scandale of the provocateur's reggae version of "La Marseillaise," which earned him the wrath of French patriots.
  7. The Debt
    Its performances are resourceful and affecting, with Chastain and Worthington in the past sequences, and Mirren and Wilkinson in the later chapters, exuding a complicated mess of responsibility, guilt, sacrifice, revenge, and regret.
  8. The Caller
    The way in which the action indulges in long, underlined silences furthers the overriding sense of trying too hard to muster up a suspenseful mood from a conceit better suited to a half-hour television program.
    • 18 Metascore
    • 12 Critic Score
    Stripped Down
    Stripped Down seems to prove, if other films hadn't already for you, that a director haunted by traumas and wrestling with demons doesn't necessarily produce artistically substantial films.
  10. Tales from the Golden Age
    The first four of the film's 1980s-set episodes are shorter in length and more anecdotal in nature than the last two and deal primarily with the pageantry and inflexible customs behind the regime with a perspective at once amused and bemused.
    • 49 Metascore
    • 63 Critic Score
    Special Treatment
    A portrait of gender-and job-transcending ennui, Special Treatment paints a vulgar picture of two apparently interwoven professions: prostitutes and shrinks.
  12. A Proper Violence
    There's absolutely no fresh perspective here; just more juiceless samplings of what's already been cooked to death.
  13. Iron Crows
    A maddeningly blunt and syrupy rendering of a piquant socio-economic configuration, Park Bong-Nam's Iron Crows is ultimately third-world documentary filmmaking at its most exploitatively surface-groping.
  14. Chasing Madoff
    The fawning personal-life segments are overdone, and undermine the film's compelling reportage about Madoff's ruse and downfall.
  15. The Family Tree
    A few trite race and religion jokes goose up what's mostly a sentimental story of a dysfunctional family suddenly and magically learning to function again.
  16. 3-D Sex and Zen: Extreme Ecstasy
    For a film so proud of its trail-blazing status ("the first 3D erotic movie"), 3d Sex and Zen is certainly driven by the same good old symptoms.
  17. Our Idiot Brother
    Shat makes Our Idiot Brother work is the endless appeal of watching Rudd's lovable idiot run roughshod over the sophisticated New York mini-universe while winning the confidence and admiration of everyone around him.
  18. Higher Ground
    Lacking both spiritual and narrative spark, Vera Farmiga's directorial debut suffers from her flat performance and a moribund, weirdly sex-joke-spiked narrative.
  19. Don't Be Afraid of the Dark
    Does Katie Holmes's hubby get script-doctoring rights even on her own film projects? That would explain why Troy Nixey's inane Don't Be Afraid of the Dark, co-written and produced by Guillermo del Toro, at times suggests an anti-Rx PSA.
  20. Circumstance
    Since Mehran's embrace of hardline Islam is never dramatized or elaborated on in any insightful way.
  21. Brighton Rock
    Brighton Rock never brings its baby-faced hood antihero, the scarfaced Pinkie Brown (Sam Riley, pouting and hunched in the late-DiCaprio manner), into a semblance of human plausibility.
  22. Spy Kids: All the Time in the World
    Even the use of the 3D format -- and the 4D "Aroma-Scope," which allows the viewer to enjoy various odors in sync with the film -- adds to its good-natured earnestness.
  23. Fright Night
    One of the minor triumphs of this Fright Night remake is Farrell's coolly assured performance, a cocksure spectacle of masculine virility far more intimidating to his character's victims, male and female alike, than the razor-sharp fangs Jerry uses to munch on human neck meat.
  24. Conan the Barbarian
    The re-whatevered Conan the Barbarian feels unexpectedly low-rent, even with its multi-million-dollar backdrops and ear-splitting, rumbling soundtrack and (presumably post-converted) 3D imagery.
  25. The Hedgehog
    The Hedgehog ultimately illuminates only the continued lameness of employing out-of-leftfield tragedy for cheap bathos.
  26. The Tiniest Place
    Going back to the scene of trauma is a familiar Latin American strategy for dealing with its wars and dictatorships through art, but The Tiniest Place takes a disturbingly literal approach to such wound-scratching homecoming.
  27. Summer Pasture
    The faces of the culture - a group of nomadic Tibetans who raise yak and harvest caterpillar dung from ramshackle tents in the Chinese mountains - resist all but the most vague of ecological or political calls-to-action.
  28. Mozart's Sister
    Mozart's Sister is too often just one more rehashing of the "Aw, didn't women have it tough then" thematic that never forces the viewer to acknowledge that maybe they haven't got it as great as we'd like to think today.
  29. Griff the Invisible
    Director Leon Ford displays a wonderful empathy in his examination of Griff and Melody's lonely environments, allowing their fringe perspectives to flower organically from the mise-en-scène.
  30. 5 Days of War
    Renny Harlin seems now incapable of taking a movie even as far as a few frames.
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