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. Safe Haven
    It goes without saying that Safe Haven is the whitest thing offered up for public consumption in the three days since Mumford & Sons won the Grammy for Album of the Year.
  2. Ice Age: Collision Course
    If Ice Age: Collision Course gleefully fails at being a history lesson, at least it offers an energetic recess from reality.
  3. Point Break
    In its philosophical and criminal investigations (largely imported from Kathryn Bigelow's original), the film moves in dozens of illogical directions, but not without achieving a patina of earnest credibility.
  4. Ultrasuede: In Search of Halston
    The tension between the amateurish interviewer and the star interviewees gives the documentary a layer of authenticity that its otherwise formulaic structure and storytelling fail to find.
  5. Erased
    The film seldom pushes beyond the bare-minimum dictates of the thriller, only rarely offering up a memorable action sequence.
  6. The Mummy
    Too much is at stake throughout, leading to formulaic plot filler and exposition that snuff out the spark of the early scenes.
    • 34 Metascore
    • 25 Critic Score
    Nesting
    The way Nesting goes out of its way to tell us where its set is symptomatic of the film in general.
  8. Return to Silent Hill
    Christophe Gans’s film does away with all the psychosexual nuance of Silent Hill 2.
  9. Vacation
    Father doesn't just know best, he's the only one whose knowledge or lack thereof means anything at all.
  10. Love Hurts
    The film is startlingly earnest in its affection for Ke Huy Quan and making him play both to and against type.
  11. The Lifeguard
    The film heroically stretches out its governing water metaphor to a point that allows it to best Garden State's Guinness World Record for most incessant navel-gazing.
  12. The Bubble
    The film’s toothless showbiz satire mostly comes down to teasing its characters for their entitlement and self-importance.
  13. And Now a Word from Our Sponsor
    It's a testament to Bruce Greenwood's acting that Adan never becomes entirely as insufferable as the words that come out of his mouth.
  14. 33 Postcards
    Pauline Chan's film is a jumbled mixture of redemptive uplift and genre hijinks.
  15. Alvin and the Chipmunks: The Road Chip
    In the film, Alvin and the Chipmunks proudly align themselves not with Dr. Demento, but with Kidz Bop.
  16. Kidnapping Mr. Heineken
    For all the thematic emphasis the script ultimately places on the allegedly thick bonds among these men, it's surprising how often they communicate solely through exposition.
  17. The Greening of Whitney Brown
    The first strike against the movie is that the awkward and diminutive Sammi Hanratty is never even slightly convincing as an enviable teenage diva, and surely not as the most popular girl in school.
  18. Language of a Broken Heart
    A feigned attempt at a stereotypically quirky indie film that has virtually nothing in the way of formal sophistication or narrative ambition.
  19. Looking Glass
    There's no follow-through or follow-up on how the main character's voyeurism informs his burgeoning sexual perversions.
  20. The Only Living Boy in New York
    As the film spirals outward from its central relationship to delve into other characters’ hidden pasts, the story becomes too unwieldy and fragmented for the audience to develop a comprehensive understanding of Callum Turner's Thomas or his personal evolution.
  21. Grave Encounters
    Twelve long years after "The Blair Witch Project" pushed the first-person-POV subgenre to horror's forefront, and four years after [Rec] expertly refined the formula, Grave Encounters can't even pretend to be anything other than hopelessly derivative.
  22. Virginia
    Unfortunately, there's little sympathy granted to these people, and the revelation of their hidden vices comes across like an increasingly mean series of punchlines.
  23. Open Grave
    Individual moments linger, but Gonzalo López-Gallego's film is merely a rough draft of a thriller.
  24. Five Nights at Freddy's
    Five Nights at Freddy’s has absolutely no idea what kind of ride it wants to be.
  25. Programming the Nation?
    A pseudo-investigative documentary shakily committed to the subject of subliminal messaging in America, but curiously indulgent about giving the singer of Queensryche time to spout off about whatever enters his head.
  26. Friday the 13th: The Final Chapter
    Even though we would see more of Jason over the years (first as a zombie, then battling a telekinetic super-girl, taking on Freddy Krueger within his own warped dreams, even hacking teens to bits in outer space), this one certainly felt as if it properly closed out the Friday the 13th series before it devolved into unadulterated camp.
  27. Blackbird
    The film is, like its main character, too naïve to understand or, at least, to deploy the reparative powers of camp.
  28. In Stereo
    The film is just another fantasy of living only the good portions of the life of an artist.
    • 33 Metascore
    • 0 Critic Score
    Losing Control
    The film, in its defense, is far too vacuous to be accused of having any kind of agenda--it just happens to get its politics wrong along with everything else.
  30. Free the Nipple
    This is kind of didactic topical movie that distributes its rhetoric evenly between characters with clear distinction as to who's playing devil's advocate to the other one's points.
  31. The Hero of Color City
    No cartoon has ever conveyed the struggle for self-actualization with such an inexpressive sense of imagination as this cheap and glorified babysitter.
  32. Collide
    It's difficult to begrudge a film that has the good sense to put so much stock in Ben Kingsley's hammy theatrics.
  33. The Baytown Outlaws
    This schlocky piece of ultra violence plays like a pop-culture pastiche without a stable thematic foundation.
  34. Colonia
    Nothing more than leftwing exploitation cinema, a cheap thriller dressed up in the guise of a social-justice exposé.
  35. The Space Between Us
    The Space Between Us is simply disappointing when it isn’t trying to browbeat its audience into emotional submission.
    • 33 Metascore
    • 0 Critic Score
    Rites of Spring
    Padraig Reynolds's film has no interest in self-awareness, and in fact wears stupidity as a sort of badge of honor.
  37. Amnesiac
    Its concern for the reclamation of identity is less important than the dull approximation of The Others' stark haunted-house atmospherics.
  38. Jackals
    Though far more elegant in execution than most Rob Zombie-imitating films, Jackals smugly wears its violent tediousness as a badge of honor.
  39. Annie
    2014: Annie's America makes director John Huston's elephantine, synthetically charismatic 1982 adaptation look like a Minnelliesque model of focus and concision.
  40. The Ritual
    Like any number of Exorcist wannabes, David Midell’s film is a special kind of hell.
    • 33 Metascore
    • 12 Critic Score
    My Lucky Star
    Yet another limp spy spoof that fails to make any interesting critiques about the genre, let alone construct a humorous gag.
  42. Fifty Shades Darker
    Fifty Shades Darker takes the Dark Knight approach to franchise maintenance, taking pains to assure you that its protagonists are serious about their passions.
  43. Regretting You
    The decision to have Allison Williams and Dave Franco, both in their late 30s when the film was shot, play their characters as teens may be the most egregious example of Regretting You’s indifference to verisimilitude.
  44. About Cherry
    The lack of plausible conflict mars the movie's highly commendable depiction of San Francisco as a the new porn capital.
  45. After Earth
    The art of storytelling is both of distinct narrative interest and personal issue in the latest payload of calcified nonsense from one of modern cinema's oddest would-be auteurs.
    • 33 Metascore
    • 0 Critic Score
    The Cup
    One wonders who the audience is for a film this far removed from the dirt and grime of the reality it claims to be based on, and why they find anything so squeaky-clean appealing.
  47. 37
    There's a fundamental lack of dramatic exigency in writer-director Puk Grasten's storytelling.
  48. The Mortal Instruments: City of Bones
    The movie blasts by for a while as an odd and busy slice of highly watchable garbage.
  49. Haunt
    Mac Carter repeatedly compromises his intuitive, and often elegantly framed, glances at his main characters' teenage blues by too busily going through amateur-night gesticulations of spooking his audience.
  50. The 5th Wave
    The sense that children’s attitudes toward rampant militarization are being gradually normalized is the film's objectionable given.
  51. Jenny's Wedding
    Tolerance in the film doesn't so much suggest a recognizably real epiphany as it does a moving Hallmark card.
  52. The Longest Ride
    There's little doubt where Cormac McCarthy-bashing Sparks's allegiances lie. The Longest Ride is truly no country for old ambiguity.
  53. Like a Boss
    Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
  54. Every Thing Will Be Fine
    The premise, of a terrible event unleavened by the easy out of someone being at fault, should be prime fodder for Wim Wenders's brand of poetic regret.
  55. Regression
    It spends a lot of time considering the fear of knowing, which may explain why Alejandro Amenábar didn’t seem to know what kind of film he was making.
  56. The Girl in the Photographs
    The film is ultimately devoted to formula, as Nick Simon discards his jumbled meta-media conceit at around the halfway mark.
  57. Ride Along 2
    Like any serving of junk food, it seems engineered to give you that initial rush of satisfaction, but leaves you in a dead zone where the only thing you want is more of the same.
  58. Redeeming Love
    The film is too narrow-minded to explore the notion that a saint-like man may want to satisfy his normal carnal desires.
  59. Primal
    The film too often suggests an Under Siege that’s been pointlessly larded with critters from Jumanji.
  60. Paranoia
    Robert Luketic's supposedly down-and-dirty corporate espionage thriller undercuts itself at nearly every turn by shunning any potential relevancy.
  61. Scouts Guide to the Zombie Apocalypse
    The flick is an artless, puerile shadow of the likes of Edgar Wright and Simon Pegg's Cornetto trilogy.
  62. Impolex
    It lulls us into its reckless passivity to the point that even the comedic duds possess a languid hint of funny.
  63. Independence Day: Resurgence
    Emmerich rewards our patience with an impersonally massive set piece involving the usual generic stew of mass CGI-imagined demolition. The insensitivity displayed toward human life in these sequences would be galling even by Emmerich's standards, if this pitiful albatross of corporate capitalism could work up enough energy to be offensive.
  64. Day of the Falcon
    There's an enormous amount of perverse pleasure to be had here for those who get off on the annihilation of nuance.
  65. Least Among Saints
    As a portrait of a self-pitying drunk's wet dream of inexplicable atonement, it's fairly effective, but as a story meant to take place on some rational version of planet Earth, it's utterly hopeless.
  66. The Rambler
    Sinister, comical, aggravating, and audacious, Calvin Lee Reeder's film is nothing short of an affront.
  67. The 11th Hour
    Writer-director Anders Morgenthaler's film is practically an exercise in over-explication.
  68. Warcraft
    Watching this bloated mélange of derivative fantasy tropes unfold is akin to being forced to follow the efforts of a particularly ham-fisted gamer, with the viewer being jerked back and forth across countless busy CGI landscapes by a plot that's utterly predictable when it isn't confusing.
  69. Cats
    This adaptation gets straight to the heart of the material, which is basically two hours of stray cats introducing themselves.
  70. My Name Is Hmmm...
    The feeling here was perhaps intended to be impressionistic and elusive, but the result is instead rambling and unfocused.
  71. Every Breath You Take
    Sam Claflin is best in show, but his performance is undercut by the film’s inability to escalate or explore the ramifications of its premise.
  72. Cas & Dylan
    The film simply mucks up its earnest take on the buddy movie with undercooked characters and on-the-nose writing.
  73. The Oogieloves in the Big Balloon Adventure
    Enduring this brainless kid's film is akin to witnessing the end of the world.
  74. Girl on a Bicycle
    The film turns the miscommunication between cultures into an utterly lifeless romantic comedy best appreciated as a travel guide for first-time tourists to Paris.
  75. Sinister 2
    It merely exudes an aura of cheap manipulation by which the audience is simply asked to rank the film's characters on a d-bag scale and root for their survival, or destruction, accordingly.
  76. Firestarter
    This new Firestarter is an almost anachronistically short production whose elements just sit there like mishandled kindling.
  77. As Luck Would Have It
    Álex de la Iglesia's film hammers home the opinion that family is more important than celebrity or wealth.
  78. Robin Hood
    Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
  79. Navajo Joe
    Navajo Joe plays more like a ’50s B western in its fluid pacing, compact narrative construction, and hokey emphasis on star power than it does the kinds of sprawling genre re-workings common to its era.
  80. Love Again
    The film is nothing but a chintzy promotional tool for Celine Dion.
  81. The Unbelievers
    It ably captures the provocative open forums that Richard Dawkins and Lawrence Krauss conduct, but its uneven nature occasionally dulls the effect of these intellectually stimulating conversations.
  82. The Forger
    A sluggish, obvious fusion of a disease-of-the-week tearjerker with a comedic family crime romp that abounds in stiflingly over-emphasized Boston-crime-movie details.
  83. The Transporter Refueled
    The titular Transporter is now but a blank slate serving the characters and mayhem surrounding him, a walking metaphor for a franchise that's run out of gas.
  84. The Viral Factor
    The apparent byproduct of watching too much Bad Boys II, The Viral Factor is a cops-and-criminals saga slathered in glossy Michael Bay-isms.
  85. Wish Upon
    The only wish that ends up satisfyingly granted is, in Wish Upon's final and utterly predictable tableau, the audience's.
  86. Lucky Stiff
    Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors.
  87. The Kindness of Strangers
    The film’s repetitive and lifeless dialogue robs otherwise charismatic performers of distinguishing characteristics.
  88. Unfinished Business
    The whole point of Vince Vaughn's cinematic existence is that he's a paragon for reformed chauvinism. He's an irrepressible but highly tamable id. Not so here.
  89. The Hitman's Wife's Bodyguard
    The Hitman’s Wife’s Bodyguard improves on its 2017 predecessor only insofar as it runs 20 minutes shorter.
  90. Chernobyl Diaries
    With the faux-verité aesthetics of [Rec], the American-tourists-in-Eastern-European-hell setup of Hostel, and the brain of a mushy radioactive mutant zombie thingie, Chernobyl Diaries is little more than decomposed horror leftovers.
  91. Xanadu
    While the soundtrack is evenly split between Newton-John ballads and power-pop from ELO, neither of which sounded particularly revolutionary at the turn of the decade, Xanadu's collage of musical styles and fads inadvertently suggests the utopia of post-disco no wave, hip-hop's emerging legacy of sampling and the DIY spirit of mash-ups. (I mean, if you want to be kind.)
    • 31 Metascore
    • 12 Critic Score
    Just 45 Minutes from Broadway
    Henry Jaglom applies what must by now qualify as a tradition of pointless agitation to the disruption of theater. Unsurprisingly, the results are disastrous.
  93. Dying of the Light
    Paul Schrader's personality reveals itself in the film's joylessness, which is meaningless without the director's accompanying and occasionally poignant existentialism.
  94. Charlie Countryman
    An egregious entry into the pantheon of films about white Americans traveling to exotic lands in search of identity and soul-searching adventure.
  95. Mary
    With the filmmakers unwilling to explore a kinky, psychosexual bond between a man and his demonic lady ghost-boat, Mary comes to feel as if lacks a through line, collapsing into a series of disconnected horror-movie beats.
  96. The King's Daughter
    The film provides no space to explore its relationships, and as a result there’s little friction to the climax.
  97. Before We Go
    The setup is so familiar that frustration sets in before the title has barely faded from view.
  98. Fifty Shades Freed
    James Foley’s film suggests that any semblance of capitulation on Christian’s part is a win for Ana and women at large, even if that momentary triumph leads to a further sacrifice of Ana’s independence.
  99. Rebel Moon Part 1: A Child of Fire
    The relative grace of A Child of Fire’s action direction only underscores how disjointed and generic the rest of the film is.
  100. Silent Hill
    Despite its often-overwhelming nonsensicality, there’s ultimately something irresistibly fiendish about Silent Hill, which not only condemns holier-than-thou religious zealots, but also—if I understand its gruesome finale—seems to be firmly on the side of the Devil.
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