Slant Magazine's Scores

Select another publication »
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
view
per page
  1. The Intruder
    The film is ostensibly about the war for the soul of a house, but it couldn’t feel less lived in.
  2. Woodshock
    It becomes the obnoxious equivalent of trying to have a serious conversation with people who are high out of their minds.
  3. Diary of a Wimpy Kid: The Long Haul
    The film's problem isn't so much the grossness of its humor as the laziness with which it's executed.
  4. Stage Fright
    Jerome Sable's debut feature couldn't be further from De Palma's delirious cinematic essays on vision and genre.
  5. Skin Trade
    There's no beauty to this film, little rhythm, none of the physical grace that action-film fans crave even if they don't know they do.
  6. Underworld: Awakening
    The only thing that manages to outpace Underworld: Awakening's ineptitude is its utter soullessness.
  7. Don Verdean
    If the film is any indication, Jared and Jerusha Hess remain committed to clotting up the screen with ostensibly charming "eccentricity."
  8. Planes
    The film feels second-rate in every sense, from the quality of its animation to its C-list voice cast.
  9. The Lucky One
    At this point, Sparksian romances unfold via their own preordained formula, and measures of their merits largely hinge on how well each can bend the cookie-cutter.
  10. Random Acts of Violence
    For all of its ostensible thoughtfulness, in trying to describe “real art,” Random Acts of Violence ultimately doesn’t describe anything at all.
  11. Krystal
    The gravity of Krystal's situation is undermined at every turn by the filmmakers' excessively broad, comedic strokes.
  12. The Dirt
    Like most biopics, The Dirt crams so many events into its narrative as to compromise the sense that these are real characters in the here and now.
  13. Snowmen
    I'm not sure what part of Snowmen doesn't scream completely inappropriate, sentimental Manichean drivel.
  14. 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.
  15. Tai Chi Hero
    Stephen Fung's pop-up graphics and jazzy fight scenes feel part of an unwieldy mix in which the director just throws whatever half-baked conceits up on the screen he feels like.
  16. How to Plan an Orgy in a Small Town
    The ingenuity of writer-director Jeremy LaLonde's film ends with its title.
  17. Ava
    Ava isn’t only banal, but also, in its half-hearted stabs at novel ideas, seemingly content with its banality.
  18. Him
    The film leaves you wishing that the aspirational way the sport is presented in real life had been read for filth.
  19. Phantom Halo
    A genre mishmash cobbled together from the refuse of disparate visual and narrative modes.
  20. Bubble & Squeak
    Evan Twohy’s attempt to smuggle some sincerity into this largely absurdist tale shows that he isn’t especially committed to coherence.
  21. Mile 22
    When Mark Wahlberg's Silva isn't wielding run-on sentences as military-grade weapons, he barks out derivative commands and asinine statements that make him sound like a 13-year-old playing Call of Duty.
  22. 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.
  23. Jack Goes Home
    The film veers almost at random from ghost story to family drama to erotic thriller to black comedy.
  24. Submergence
    Submergence's globetrotting only succeeds at exposing the hollowness of the characters at the film's center.
  25. Entourage
    If ever there was a movie equivalent of dad bod, Entourage is it.
  26. Run with the Hunted
    Some of the film’s narrative threads are frustratingly unresolved, while others are wrapped up in arbitrary fashion.
  27. Terminator Genisys
    Terminator Genisys feels like being trapped in a conversation with a child breathlessly recounting the highlights of the preceding movies.
  28. Gemini Man
    Whatever new technology facilitated its genesis, the film is just another assembly-line reproduction.
  29. The Green Inferno
    The savagery here is rooted in retrograde myths that might have been easier to stomach had the cannibalism been positioned as a fantastical unleashing of retribution.
  30. Men in Black: International
    The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.
  31. All Eyez on Me
    The tension between verisimilitude and economy of storytelling dictates everything in All Eyez on Me.
  32. The Vatican Tapes
    Like technological innovation itself, the film seems overwhelmed by the reach of all its techo-cultural parts.
  33. One Spoon of Chocolate
    The slower it moves, the more obvious One Spoon of Chocolate’s deficiencies become.
  34. Ouija
    The film consistently settles for the cheapest shock devices and the most shopworn totems of our current neo-gothic moment in the genre.
  35. No Escape
    The only way that this film could be any more racist is if the Dwyer family holed up with Lillian Gish and waited for the Klan to save them.
  36. The November Man
    Roger Donaldson embellishes an already overly plotty scenario with hollowly attractive genre superfluities.
  37. Flight Risk
    Given that Mel Gibson makes little attempt to instill any sense of physicality to this dispiritingly paint-by-numbers affair, it becomes easy to understand the marketing of the film’s 4DX theatrical option as an act of overcompensation.
    • 38 Metascore
    • 50 Critic Score
    Goats
    Christopher Neil's film is more location-scouted and photographed than directed and acted.
  39. Lay the Favorite
    Hollywood celebrities romping around in a candy-colored Alexa-shot criminal underworld, pretty much as a means of passing time.
  40. Ghosts of War
    The film’s unreflective earnestness is haunting in all the wrong ways.
  41. Seeking Justice
    The film's tossed-off look and clunky editorial construction are still secondary to the sheer silliness of its story.
  42. Chaos Walking
    Beneath its perfectly entertaining surface, the film is a mess of contradictions that fails to live up to its own potential.
  43. Bad Santa 2
    Both a potent rendering of and cure for the holiday blues, Bad Santa 2 shows that even the most hopeless situations can be remedied and that just about anyone is capable of redemption
  44. The Collection
    Whereas the later "Saw" films were hampered by bloated backstory, various ostentatious agendas, and self-satisfied sadism, The Collection feels utterly unburdened by anything but its lean, fleet-footed plot.
  45. Amateur Night
    The film is peppered with interesting true-life details, but these are overwhelmed by frantic comedic sequences.
  46. The Ward
    Its ostentatious sense of horror -- think later-day Argento -- is far from suggestive, though some of its queasier moments effectively tap into our fears of not-so-bygone forms of invasive physical therapy.
  47. Think Like a Man Too
    That this retrograde "straight talk" somehow managed to emerge on screen as a reasonably genial ensemble comedy speaks to the strength of its performers.
  48. A Case of You
    Kat Coiro's film takes the comedy of discomfort to new levels of cringe-worthiness by presenting.
  49. One Fall
    One Fall is a bafflingly lame assemblage of self-help platitudes, the sort of film in which every narrative detail is specifically placed to pave the way for a pat moral you've grasped before the opening credits have barely concluded.
  50. The Stand In
    The film allows the scion of one of Hollywood’s most notable families to interrogate her relationship with celebrity in self-aware fashion.
  51. Free Birds
    The film is absent of humor and thrills, and accented with designs and color schemes that are equally notable for their lack of risk.
    • 38 Metascore
    • 0 Critic Score
    Girl Most Likely
    Shari Springer Berman and Robert Pulcini's dismal, D-grade sitcom isn't fit to lick the boots of Whit Stillman's four films.
  53. A Rainy Day in New York
    The film’s skittishness is particularly maddening considering that Woody Allen has nothing to artistically to prove.
  54. The Moth Diaries
    This is one vampire film whose sexless, generic ending betrays a promise of revisionist complexity.
  55. I Don't Know How She Does It
    The witticisms are delivered via a suffocating glut of audience hand-holding, which includes constant doc-style confessionals, whimsical on-screen text, studio-audience sound effects, voices in Kate's head, and voiceover narration.
    • 38 Metascore
    • 0 Critic Score
    2 Jacks
    The embarrassingly low production value of Bernard Rose's 2 Jacks works symbiotically with the film's botched performances.
  57. Max Rose
    The film occasionally and promisingly suggests an obsessive and free-associative paean to regret.
  58. Youth in Oregon
    Joel David Moore's film is too often distracted by irrelevant emotional grandstanding.
  59. And So It Goes
    Just as Michael Douglas doesn't have it in his guts to make Oren a real son of a bitch (a grandpa Gekko), Diane Keaton's jangled neurotic tics lack any dramatic import.
  60. V/H/S: Viral
    One need go no further than the film's first segment to grasp how little interest the latest entry in the anthology series has in generating chills from the lo-fi.
  61. Brake
    Until its pair of ludicrous twist endings, which complicates its message and logistics in ways that make little sense, Gabe Torres's Brake plays like a more simplistic version of Buried tailored specifically to a hawkish right-wing crowd.
    • 38 Metascore
    • 38 Critic Score
    Almost in Love
    The film spoils the charm of its concept in the way it confuses the wish to be a Woody Allen-Julie Delpy lovechild with a cramping formalism that borders the theatrical.
  63. Third Person
    If the glue holding Crash's arcs together was Paul Haggis's belief in the power of racism, this time it's love.
  64. Men, Women & Children
    Jason Reitman fails to take into account any of the positive endeavors enabled by social media, which will no doubt be used to promote and market his film.
  65. The Beyond
    Even by Argento standards, Fulci’s film is nonsensical to the point of distraction.
  66. Ben-Hur
    Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
  67. Midnight Sun
    Throughout, the film's tone vacillates jarringly between corny, broad humor and unrestrained treacle.
  68. Jurassic World Dominion
    When Dominion isn’t suffocating itself with world-building, much of it frustratingly untapped, it’s wholly given over to corny fan service.
  69. Ong Bak 3
    Most of Ong Bak 3's spectacular shortcomings are forgivable because, to a large extent, the film is everything you came to see and then some.
  70. Hillbilly Elegy
    Hillbilly Elegy feels like a bland feel-good story rather than one part of a longer tragedy with no clear end.
    • 38 Metascore
    • 63 Critic Score
    The Trouble with Bliss
    Populated with unlikely occurrences and oddball characters, it plays out, to put it most complimentary, like a dull, slower moving "After Hours."
  72. Extraterrestrial
    A knowing mélange of recognizable genre tropes bordering on shopworn cliché, with little else introduced to the equation to justify its existence.
  73. Cell
    The film insufficiently connects the book's prophecy with its present-day, real-world forms of realization.
  74. Mr. Jones
    That it half succeeds, in spite of its cloying self-seriousness, means that it's at best a convincing copycat of a definitive expression of ego and influence in art.
  75. Adore
    So deadly serious and yet so goofily unbound that, in some scenes, incest truly seems like it's on the scandalous menu.
  76. Electric Slide
    Like the characters, the film's exterior flash can't conceal a glaring emptiness.
  77. The Words
    The film folds narratives on top of narratives in a vain attempt to mask the fact that there's nothing to read between its graceless lines.
  78. Mr. Church
    Bruce Beresford's film is remarkable for how it manages to indulge so many offensive and shopworn clichés at once.
  79. Kickboxer: Vengeance
    It relies less on in-camera stunts than editing that renders vague gibberish of the altercations.
  80. Trespass
    A jerky, clamorous domestic thriller that attempts, with nonsense and expletives turned up to full volume, to say something thrillingly profound about the depths of misery one can reach while doing financial damage control.
  81. Marfa Girl
    The film finds the actors' performance deficiencies functioning less as signs of authentic teenage behavior than as an incompetent carrier of plot.
  82. 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.
  83. Winnie Mandela
    The film's tonal inconsistencies speak less to the struggles of its titular subject than to its own grasp-exceeding ambitions.
  84. 24 Hours to Live
    Brian Smrz never contrasts the film’s violence with stillness, allowing the audience to enjoy a sense of foreboding escalation.
  85. Autómata
    Much like a spate of recent summer blockbusters, there's a tiring sense that every single facet of the narrative has to be rendered with truculent solemnity.
  86. Baywatch
    In terms of body objectification, Baywatch is an equal-opportunity exploiter, but when it comes to comedy, it's a total boys' club.
  87. 1911
    Adhering to what is apparently a formula for national superproductions, 1911 throws dates and names on the screen with unceasing speed and frequent irrelevance -- gratuitously identifying a walk-on as "German diplomat."
  88. Inescapable
    The film spins its wheels for almost an hour until collapsing under the weight of exposition that renders the mystery nearly besides the point.
  89. My Big Fat Greek Wedding 2
    As far as shameless excuses to rehash crowd-pleasing gags from the first film go, it doesn't particularly go about its duties cynically.
  90. Aardvark
    The film adopts a half-hearted variation on A Beautiful Mind's gimmicky approach to grappling with a man's mental illness.
  91. Black Out
    The film's various references to other stylistic touchstones, while thematically apt, rarely carry any sort of critical inquiry.
  92. Gimme Shelter
    Writer-director Ron Krauss's Gimme Shelter is wretched long before its odious ulterior motives come to light.
  93. Burying the Ex
    It alternates awkwardly between shrill, borderline misogynistic sex farce and desperately gory, pun-rife creature feature.
  94. Judy Moody and the Not Bummer Summer
    Kitsch sprung from the lame imagination of adults who probably wish their tweeners lived their lives like Judy Blume characters.
  95. Son of God
    The film plays for much of its length like a terrible sketch comedy with one-dimensional caricatures shuffling listlessly through a succession of stilted tableaux.
  96. Serenity
    The film’s twist ending exists only to retroactively justify writer-director Steven Knight’s feeble stylistic choices.
  97. Connected: An Autoblogography About Love, Death & Technology
    One of the film's main problems is the fact that Shlain is so invested in connecting her father's scientific findings... with an astonishingly linear history of the world that she fails to see the more private connections that flicker in and out of her verbose voiceover.
  98. The Pact 2
    Camilla Luddington refuses to predictably foreground her character's escalating fear, allowing us instead to see that fear as being at war with her inquisitive intelligence.
  99. Autumn Lights
    The film is like a landlocked Bergman chamber drama divested of any ambivalence regarding human relationships.
  100. The Professor
    The film goes down easy because it saves the self-improvement clichés for the homestretch.
Page:

Top Trailers

See all »
See all trailers »