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. Loving Vincent
    Dorota Kobiela and Hugh Welchman's film is driven by an off-putting and oxymoronic fusion of reverence and egotism.
  2. The Leisure Seeker
    No matter how likable Sutherland and Mirren are, they're still stuck in little more than an upbeat wish-fulfillment fantasy.
  3. England Is Mine
    England Is Mine is a tour ride through a legend’s formative years that’s more concerned with the familiar signposts than the intricacies of the scenery along the way.
  4. Rebel in the Rye
    The whole affair suggests dramatic Tetris, and it leeches the artist and his process of any mystery.
  5. What Happened to Monday
    Tommy Wirkola’s film squanders an evocative premise in favor of rote gun-fu carnage.
  6. Bombshell: The Hedy Lamarr Story
    The film curiously steers toward surmising Hedy Lamarr's psychological state as it pertained to love and pleasure.
  7. The Queen of Spain
    Fernando Trueba fails to probe the political implications of The Queen of Spain's period milieu, which is particularly confounding given the filmmaker’s evident anti-fascist sympathies.
  8. 6 Days
    6 Days boils down the intricate relationship between Iran and the West into a tense standoff of conflicting ideals where the values and perspectives of only one side really matter.
  9. Super Troopers 2
    Given the sheer amount of comic material here, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.
  10. Hostiles
    Scott Cooper's film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
  11. Jackals
    Though far more elegant in execution than most Rob Zombie-imitating films, Jackals smugly wears its violent tediousness as a badge of honor.
  12. Mark Felt: The Man Who Brought Down the White House
    Mark Felt is a kind of hagiography, and it leans toward whitewashing its subject's legacy, which extends even to the man's illegal break-ins and wire-tapping of the leftist activist group the Weather Underground.
  13. Borg vs. McEnroe
    Even the depiction of how both men waver during the Wimbledon final — of Borg losing his cool while McEnroe avoids succumbing to petulance — fails to tie into the larger portrait of their rivalry.
  14. The Children Act
    The Children Act stages the clumsiness of belated domestic confrontations with the very coldness that’s kept its characters from having discussed their emotions for decades and from having had sex for almost a year.
  15. Loving Pablo
    The film uncomfortably dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
  16. Racer and the Jailbird
    The film comes to concern a selfless martyr before morphing, most absurdly, into a disease-of-the-week tearjerker.
  17. Assholes
    It begins as a clever pseudo-mumblecore provocation with shades of Bruce LaBruce only to quickly turn into indefensible nonsense.
  18. The Tribes of Palos Verdes
    The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.
  19. Crooked House
    Gilles Paquet-Brenner's film is ultimately a genre item that operates on alternately prestigious and campy autopilot.
  20. The Strange Ones
    The film's mixture of sensationalism and self-conscious artiness is experimentally disingenuous at best.
  21. Dream Boat
    If the global reunion that the cruise ship presents here is such a panacea, why is there so much moping?
  22. Blame
    In attempting to grapple with issues of bullying, mental health, burgeoning sexuality, and pedophilia, the film bites off more than it can chew.
  23. Benny's Video (1992)
    Benny’s Video is a smug, contemptuous, passive-aggressive attack on the dehumanizing effects of media, without even the common decency to offer shrill sensationalism to punch up its subsequently feckless, reactionary, pomo assertions.
  24. Saturday Church
    Writer-director Damon Cardasis follows a rather didactic approach to his 14-year-old's protagonist's plight in Saturday Church.
  25. Voyeur
    It's hard to come away from the film feeling anything but disdain and a twinge of embarrassment toward Gay Talese.
    • 41 Metascore
    • 38 Critic Score
    Crocodile Dundee II
    The sequel exacerbates problems already too evident in the first movie, most painfully the near-total disposability of Kozlowski’s Sue, who spends most of the time reacting to Mick’s quirks with chuckles. No battle of wits, no rejoinders. Sue accepts Mick’s ways wholesale; there’s never any hint at a possible tension between their lifestyles.
  27. The Dancer
    Like Loïe Fuller's serpentine dance, the film is structured on repetition: spinning and spinning but never actually taking us nowhere.
  28. 7 Days in Entebbe
    The conflation of historical complexities makes for cheap pathos throughout, complete with weeping mothers and the seemingly endless dredging up of the terrorists' obvious moral equivalence.
  29. Mortal Engines
    After a while, it all starts to feel like a showreel for the film’s special-effects team than an honest effort to tell a story.
  30. Inside
    At best competently mounted and at worst a case study in watering down chaos for an American market.
  31. Entanglement
    Ben doesn't deserve our sympathy, in part for how noxiously the film has imagined the female characters who surround him.
  32. Beuys
    The film fails to seriously address Joseph Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe.
  33. Come Sunday
    In the film, Joshua Marston leaches the narrative of nearly all the social texture that infused and empowered “Heretics,” the 2005 episode of the This American Life podcast that inspired this biopic.
  34. Nostalgia
    Mark Pellington's Nostalgia is less a living, breathing film than a presentation of sentiments revolving around a pat question: Are the objects of our lives merely detritus, or are they vital to our identities?
  35. Blumhouse's Truth or Dare
    Director Jeff Wadlow's Truth or Dare is a startlingly mean-spirited but otherwise dimwitted horror film.
  36. The Darkest Minds
    The Darkest Minds never communicates the overwhelming horror of a society whose children are either dead or in the process of being exterminated, or the hopelessness of kids discovering that every potential benefactor may have ulterior motives.
  37. Ophelia
    Transforming Ophelia’s abuser into a helpful co-conspirator hardly seems like the most daring feminist reading of Hamlet.
  38. Vazante
    Daniela Thomas seems stymied by her own images, unable to extract the turmoil and violence suggested by her story for fear of upsetting the austere surface harmony of her visuals.
  39. The Female Brain
    The Female Brain never seems quite sure whether it wants to probe the depths of its title subject or just make us laugh. And given the shallowness of its quasi-scientific blather and the tepidness of its comedy, it ultimately does neither.
  40. Traffik
    Deon Taylor seems uncomfortable with the escalating relentlessness of a siege film, eventually splitting Traffik off into a variety of other tangents and genres, diluting the potent subtext at the film's center.
  41. Allure
    Evan Rachel Wood and Julia Sarah Stone have a natural chemistry together that brings a feverish and unsettling intensity to their characters' tumultuous relationship, but there's no reprieve from the dour tone of the film.
  42. Hold the Dark
    Hold the Dark's ludicrous seriousness comes to feel like a mask for what's essentially a genre story of murder and mayhem.
  43. Outlaw King
    Outlaw King rattles along at a bracing pace, but the assured bloodshed of the final showdown looms large, casting a weary shadow over the film’s middle section.
  44. Suspiria
    Luca Guadagnino's Suspiria is a funereal pseudo-realist drama about political upheaval and the violence of systems that's at odds with itself.
  45. Damsel
    It's well established by now that the mythic Old West was always a trope written and controlled by men, and that there's really no bottom to which men won't stoop when women are a scarce quantity. In its mad rush toward performative allyship, the film exhausts every possible means of conveying those bombshells.
  46. Looking Glass
    There's no follow-through or follow-up on how the main character's voyeurism informs his burgeoning sexual perversions.
  47. Dear Dictator
    The potential comic absurdities of the premise are squandered as soon as the film settles into a tepid coming-of-age tale.
  48. Beast of Burden
    The film’s flashbacks, which are either too clipped or excessively scored, effectively step on the actors’ toes.
  49. An Evening with Beverly Luff Linn
    The absence here of a joke is meant to be hilarious, or to at least congratulate the audience for willfully submitting to a denial of pleasure. Every element of the film is studiously, painstakingly random.
  50. The Last Family
    The film tends to literalize its theme of unfulfilled desire by having characters explicitly lament their lost pasts.
  51. RBG
    The film rarely presents a clear analysis of Ruth Bader Ginsburg's victories, reducing her work to empty slogans.
  52. The Sentence
    Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor.
  53. Hearts Beat Loud
    The steadiness with which Haley's film progresses through its dramatic beats is rather like its familiar-sounding indie pop, moving rhythmically toward a predictable climax whose emotional intensity feels unearned.
  54. In the Intense Now
    Although João Moreira Salles tries to tap into the pleasurable elements inherent to the essayistic as a cinematic form, such as making the merging of intimate and social reality poetically visible, his storylines never quite gel.
  55. All I Wish
    Writer-director Susan Walter's film seems almost determined to disprove the causality of social phenomena.
  56. Josie
    Complicating Sophie Turner's character would have allowed the film to feel as if it had more on its mind than pulling the rug out from under us.
  57. The Reports on Sarah and Saleem
    We never spend enough time with the characters to believe the urgency, and lushness, of their cravings.
  58. The Nun
    The Nun is the cinematic equivalent of a Conjuring-inspired maze at Halloween Horror Nights at Universal Studios.
  59. Sonic the Hedgehog
    Throughout, any and all subtext is buried under the weight of Jim Carrey’s mugging.
  60. Yardie
    The film’s tendency to break the “show, don’t tell” directive becomes especially irksome in its homestretch.
  61. Daughter of Mine
    Unlike My Life in Pink, Daughter of Mine sidesteps all ambiguity, as the film reveals everything about its characters straight away, leaving little room for unexpected complexities about their predicaments to develop.
  62. Profile
    Timur Bekmambetov’s Screenlife film is more fluff piece than hard-hitting news story.
  63. Backstabbing for Beginners
    It fills the screen with a series of explicative conversations set in offices, hotels, and cars throughout which people don’t so much talk to each other as indirectly to the audience.
  64. The Crow
    The remake gets bogged down by a superfluous, hackneyed backstory and narrative threads that are conspicuous for their lack of emotional gravitas, causing the film to feel like a wheel-spinning exercise.
  65. Fireworks
    Akiyuki Shinbo and Nobuyuki Takeuchi's time-travel device mostly just exists to complicate what is, at heart, a trite and sexist love story.
  66. Boundaries
    Christopher Plummer brings a twinkly eyed insouciance to his character, but there's only so many times Jack can make a joke about, say, his adult diapers before it becomes thin and hollow.
  67. Red Notice
    A constant sense of motion can’t obscure how stale, secondhand, and spiritless this entire endeavor feels.
  68. An Ordinary Man
    Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.
  69. SuperFly
    SuperFly is a slicked-up, tricked-out revamp that dispenses with any pretense of verisimilitude in favor of rap-video extravagance and mob-movie bloodshed.
  70. Krystal
    The gravity of Krystal's situation is undermined at every turn by the filmmakers' excessively broad, comedic strokes.
  71. Ava
    The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.
  72. This Is Our Land
    Throughout the film, Lucas Belvaux sidelines the emotional textures that might complicate all his sermonizing.
  73. Greyhound
    With no vividly drawn humans on display, the action feels like rootless war play.
  74. The Wife
    Glenn Close's perennial look of astonishment and resilience commands the action to the point of turning every other screen element into a gratuitous prop.
  75. Hotel Artemis
    Hotel Artemis quickly reveals its future setting as an empty pretext for a banally convoluted and sentimentalized show of emotional rehabilitation.
  76. Woman Walks Ahead
    As a character, Catherine Weldon suffers the same fate as Sitting Bull, having been reduced to a signifier of the filmmakers' retroactive political correctness.
  77. Mapplethorpe
    In Mapplethorpe, the ultimate purpose of the film seems to be the reductive portrayal of the artist as yet another tormented queer destroyed by his tendencies toward vice.
  78. Shock and Awe
    Rob Reiner's film rests on broad, sweeping proclamations about the importance of factual reporting.
  79. Lion's Den
    Although the film is essentially contemplative, there’s little here worth contemplating.
  80. Ideal Home
    The broad strokes of the performances make the film's occasional lurches into sentimentality seem especially jarring.
  81. Good Manners
    The film is a rebellion of surfaces that never quite reaches, or emanates from, the underpinning roots of its fable.
  82. Destination Wedding
    The way Destination Wedding uses misanthropy to augment screwball tropes ends up being its undoing.
  83. The Bookshop
    The Bookshop is steadfast in avoiding drama at all costs.
  84. Capernaum
    Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.
  85. Pet Sematary
    The story has enough pathos to fulfill the expectations of a great tragedy, but the film feels like a commercial for something else entirely.
  86. The Aftermath
    The film’s threads of personal loss and cultural friction are all but lost amid the tawdry romantic entanglements.
  87. Gauguin: Voyage to Tahiti
    Gauguin represents for the film no less an ideal Romantic subject than the Polynesians represented for the painter himself: penniless, chronically ill, and living in self-imposed isolation—the very embodiment of the suffering artist.
  88. Damascus Cover
    The film trots out thinly conceived villains and a murky plot twists that leave crucial details needlessly shrouded in mystery.
  89. Friday the 13th Part III
    The horny teenagers all seem like banal, plastic, eager-to-please refugees from a sitcom, desperately hoping with their every line of dialogue for a canned laugh.
  90. Peterloo
    Peterloo so simply recounts the details of its subject matter that its culminating horror unsettlingly feels like little more than a cathartic inevitability.
  91. Aladdin
    Aladdin is ultimately less offensive than patently ridiculous, mostly because its ethnic white noise is really just an excuse for Robin Williams—as a postmodern blabbermouthed genie who grants Aladdin three wishes—to put on the most elaborate, narcissistic circus act in the history of cinema.
  92. Path of Blood
    The film in effect positions young jihadis less as fervid, bloodthirsty psychopaths and more as dumb kids at summer camp.
  93. Dumbo
    Tim Burton manages to put his stamp on this clunky behemoth of a film, but in the end, the Mouse always wins.
  94. Friday the 13th: A New Beginning
    The tone is crude, raunchy, and leering, with kill scenes combined with more nudity than usual; we’re even invited to check out a hot chick’s body after her face has been sliced in half by garden shears.
  95. Fahrenheit 11/9
    Fahrenheit 11/9 represents a sincerely bold attempt to capture the overwhelming civic decay that led to our current political crisis, but Michel Moore’s circus-showman duplicity is as crass and abhorrently self-promoting as that of Donald Trump.
  96. Joker
    The film is one that might have been dreamed up by one of the cynical douche bros from the Hangover during a blacked-out stupor.
  97. Mid90s
    Jonah Hill constantly falls back on providing vague justification for his characters' behaviors, along with spoonfuls of sentiment to let the more dour moments go down easier.
  98. Final Score
    To observe that the Dave Bautista-starring action flick Final Score is yet another Die Hard knockoff may be tiresome, but it's not as if the film gives one much of a choice, as it offers up a ceaseless barrage of scenes lifted from the John McTiernan classic.
  99. Sicilian Ghost Story
    The film is determinedly unclassifiable, blurring genres with a fervor that grows tedious.
  100. The Aeronauts
    As a suspense film, it’s so sluggishly structured that it borders on the avant-garde.
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