Slant Magazine's Scores

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For 7,772 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 6.3 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. Whitney Houston: I Wanna Dance With Somebody
    There are only clichés in this rise-and-fall material, with the sole distinctive wrinkle being the weight given to the rise versus the fall.
  2. 6 Month Rule
    The film is far too indulgent with its lead character to do more than hint at the ways that one form of male egotism can morph into another.
  3. Stuck in Love
    The movie aims for an admirable balance, but fatally upsets that equilibrium in its hurried resolutions.
  4. Puppet Master: The Littlest Reich
    It all feels cheap and looks cheap, a far cry from what S. Craig Zahler can do when overseeing both a film's words as well as its images.
  5. Life of Crime
    Down to its too-crisp rubber Nixon masks, Daniel Schechter's film revels in obnoxiously self-aware period detail.
  6. Il Futuro
    A counterproductively "literary" film with no satisfying payoffs, Rutger Hauer's blind recluse notwithstanding.
  7. The Ticket
    The Ticket abandons the potentially complex web of drama it initially sets up and moves toward a limp, shallow critique of superficiality itself.
  8. The Misfits
    The film is almost refreshing in its flightiness, even as it remains defiantly ignorant of the world in which it exists.
  9. Citizen Gangster
    Its commentary on our fascination with law-breakers is virtually nonexistent, except to the extent that the film itself revels in the doomed romanticism of its own protagonist.
  10. The Ministry of Ungentlemanly Warfare
    To Ritchie’s credit, he keeps his film moving along at a consistently brisk clip, but that breeziness is also the cause of its weightlessness, rendering its vision of historical events as outright cartoonish, down to the often clownish portrayals of Nazis and the flawless execution of nearly every element of March-Phillips’s plans.
  11. 14 Blades
    An immensely gifted physical performer, Donnie Yen isn't strong enough an actor to suggest an authentic inner life to his character beyond a vague sense of stone-faced dissatisfaction.
  12. Go for Sisters
    LisaGay Hamilton and Yolonda Ross play persuasively embody modern urban feminine strength, but they're eventually stranded in a recycled road movie.
  13. Six Minutes to Midnight
    Andy Goddard’s film clumsily superimposes a frenzied, completely fictional spy adventure onto a fascinating fragment of pre-war history.
  14. Divinity
    The story’s attempt at an excoriation of spectacle and empty pleasure comes off as little more than a reluctant swipe.
  15. Angel Heart
    It would all be laughable if the evil deeds and premature deaths and withered witch doctor hands led us to more than the protagonist’s unnecessarily messy self-discovery. As it is, it’s mostly just gratingly pointless.
  16. Much Ado About Nothing
    The film is nothing without the physicality of the performers, as Joss Whedon's script handles the transition of Shakespeare's language to modern day indifferently.
  17. Him
    The film leaves you wishing that the aspirational way the sport is presented in real life had been read for filth.
  18. Gladiator II
    Like so many latter-day Ridley Scott films, Gladiator II at once feels half-baked and overstuffed, and the lack of internal consistency robs its action of sustained tension and its comedy of bite.
  19. Hitler's Children
    The film drains its subjects of the shame forced on them by Nazi ancestors and yet has difficulty arriving at an effective, constructive thesis.
  20. I Love Boosters
    Arrhythmic, unfocused, and forgetting to breathe, this overstuffed film feels like a circus act, a well-dressed elephant on a unicycle juggling a dozen balls. It’s an impressive feat of dexterity, if not grace.
  21. The Gorge
    For a solid hour or so, the film is patient and tense, with just the right touches of levity and romance. Until, suddenly, it isn’t.
  22. Child's Play
    Child’s Play is only a shade more terrifying than Teddy Ruxpin.
  23. Take Me
    Schilling and Healy never quite overcome the fact that Take Me is a suspense comedy that simply isn't very suspenseful or very funny and, just as importantly, never finds a thematic through line.
  24. Hockney
    After a nearly virtuoso opening, it reduces passages of the painter's life into multiple montages of pop pabulum.
  25. The Toxic Avenger
    Pulled awkwardly in so many directions, this Toxic Avenger all but comes apart at the seams.
  26. Lamb
    Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
    • 60 Metascore
    • 50 Critic Score
    Christopher Robin
    Unlike the red balloon that Winnie the Pooh follows through much of the running time, Marc Forster's film lacks lightness.
  28. Cleopatra
    Cleopatra is, disappointingly, neither a visionary masterpiece nor a fascinating catastrophe, but something altogether more banal: an unusually intimate epic that falls very flat.
  29. Apostle
    The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
  30. Jane by Charlotte
    The film neglects to find a conceptual framework for its prolonged consideration of Charlotte Gainsbourg’s eventual revelation: “I have always loved you, but it’s much clearer to me now.”
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