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. A Year in Champagne
    The premise amounts to numerous raised glasses and classical music cues, but little of this schmoozing strikes a notable chord beyond the démodé back-patting engaged throughout.
  2. Like Sunday, Like Rain
    Frank Whaley never gives these characters a humanizing moment outside of their default personalities, which turns them into cartoon impressions of the worst of each class.
  3. Burnt
    Everything in the by-the-numbers script signals that Adam must transform himself from and abusive tyrant in the kitchen to the head of a loving and fully functional family.
  4. Zoolander 2
    The film is frequently guilty of the same obsolescence it accuses the characters of embodying.
  5. Dawn Patrol
    The opposite of enlightenment, the film hides its anxieties behind a mélange of third-rate grit and playful xenophobia.
  6. Preggoland
    Throughout, Sonja Bennett embodies slackness as an affectation, not a raw response to a culture of authenticity-killing productivity.
  7. The Road Within
    The film's tired sentimentality aside, its general lack of empathy is most damning.
  8. Break Point
    A mostly laugh-free, paint-by-numbers approach to a pair of former pros vying for relevance as they enter, kicking and screaming, into their mid 30s.
  9. Ride
    Throughout, Helen Hunt obsequiously tends to her character's evolution as a parent through a flagrant indulgence of sitcom-ish scenarios.
  10. Mojave
    With the film, director William Monahan offers audiences a bundle of fetishes dressed up as an existentialist thriller about the class system.
  11. 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.
  12. The Seven Five
    It relays a story of police corruption that's transparently designed as a pitch for a feature-film adaptation.
  13. The Film Critic
    It perverts cinephilia by asserting that anyone who engages in criticism actually, deep down, wants to be a practicing artist.
  14. That Sugar Film
    One senses that all of these kinds of documentaires are finally aggrandizing shrines made by artists trying to erect something out of nothing.
  15. Anesthesia
    Tim Blake Nelson's film immerses itself into as many pain-induced (and painful) subplots as it possibly can.
  16. The Benefactor
    Writer-director Andrew Renzi treats unfettered wealth as a hyperbolic playground through which to explore masculine insecurity.
  17. American Heist
    The film offers a veritable smorgasbord of dated, only-in-the-movies clichés about the debt-ridden working class.
  18. Police Story: Lockdown
    The film's subtitle is apropos, as this is a decidedly locked-down and lead-footed talk-o-rama.
  19. Marguerite & Julien
    It finds its filmmaker completely lost between impulses to pay homage, play it safe, or offer something—anything—new.
  20. The Sea of Trees
    There's little here to suggest that the film is anything more than a hastily cobbled-together studio star vehicle.
  21. Daddy's Home
    Though Will Ferrell has made a career out of his own debasement, the film quickly becomes too cruel to generate laughter for anyone who would empathize with him.
  22. Boulevard
    Not merely rote, Boulevard is contemptible for a belief in its own stature as a daring attempt to parse through the minutia of its core relationship, where Nolan's uncertain sexuality would be terms enough to laud the film's provocative insights.
  23. Return to Sender
    The kind of wholly misconceived thriller that begs asking precisely what its filmmakers were seeking to accomplish.
  24. Amnesiac
    Its concern for the reclamation of identity is less important than the dull approximation of The Others' stark haunted-house atmospherics.
  25. The Dressmaker
    The frequent contemptuousness the film displays toward its characters keeps the audience at arm's length.
  26. Big Sky
    Jorge Michel Grau's ambitions are stalled by a screenplay that seems to have never made it past a first draft.
  27. Shanghai
    Everything in Mikael Håfström's film is needlessly bloated to accommodate its status as an international, prestige production.
  28. Into the Forest
    Essentially a post-apocalyptic telenovela, it sanitizes the concept of sisterhood, and even womanhood.
  29. The Choice
    Most Nicholas Sparks adaptations say, in cinematic terms, nothing so complicated as "roses are red." This one just points to a garden and shrugs.
  30. Shelter
    The characters' marginalized social standing is less indicative of a real-life epidemic and more akin to window dressing.
  31. The Book of Henry
    Schmaltzy, manipulative, and tonally schizophrenic, The Book of Henry is such a monumentally misguided venture that it ends up being oddly, if unintentionally, compelling.
  32. Godzilla vs. Kong
    Godzilla and Kong’s brawls have the ennui-inducing feel of a child arbitrarily smashing action figures together.
  33. Bridget Jones's Baby
    The Pinkberry solipsism of this particular franchise all but requires our heroine persist as a lovelorn martyr for her audience’s benefit.
  34. The Armor of Light
    It doesn't trust the inherently complex material to speak for itself or care to consider its consequences beyond instances of manufactured, gut-wrenching immediacy.
  35. Halloween: The Curse of Michael Myers
    The Curse of Michael Myers’s supernatural angle is understandably its weakest link, seeing as it was the aspect of the film that test audiences disliked the most.
  36. Already Tomorrow in Hong Kong
    The script labors to give the film a strong sense of place, but strange lapses confirm a sense that the city isn't a character here.
  37. Prescription Thugs
    It's symptomatic of the one-man-show form of polemical exposé that's come to dominate, and deteriorate, documentary practice.
  38. Casa Grande
    The film uses its critique of white privilege as a means to woo the legitimizing gaze of international audiences.
  39. My Little Pony: The Movie
    Visually plain and ploddingly paced, My Little Pony: The Movie suggests four episodes of My Little Pony: Friendship Is Magic smushed together with a Sia music video tacked on at the end.
  40. Diablo
    It inelegantly attempts to infuse a standard revenge western with the gravitas of a war veteran's coming-home odyssey.
  41. War Dogs
    The film is unrepentantly cynical when it comes to the global business of warmongering, but proves unsurprisingly earnest when it comes to the lure of the American dream.
  42. King Arthur: Legend of the Sword
    For all the attempts to update King Arthur to be cool and sexy, neither the character nor the film around him musters any spark.
  43. Cabin Fever
    Travis Zariwny detachedly regards the material as shtick to be waded through with quotation marks.
  44. Yoga Hosers
    Any of the film's attempts at moralizing are subsumed by Kevin Smith’s obsession with taking aim at his critics.
  45. Solace
    It joylessly coopts the hoariest stylistic tics and narrative tropes from your run-of-the-mill 1990s thriller.
  46. The Snowman
    The Snowman is missing so much basic connective tissue as to be rendered almost completely inexplicable.
  47. Tallulah
    Relevant facts about each character are dutifully punched out, in earnest speeches or actions that are often wildly overdrawn.
  48. Colonia
    Nothing more than leftwing exploitation cinema, a cheap thriller dressed up in the guise of a social-justice exposé.
  49. Captain Fantastic
    The film is premised on a radical act that it buries beneath a grueling avalanche of quirk.
  50. Christine
    It largely fails to animate Christine Chubbuck's inner turmoil, focusing instead on broad, blunt externalities.
  51. The Intervention
    Clea DuVall crafts an entire film out of aborted attempts at a revelation that feel completely anodyne.
  52. Creative Control
    The film is overrun with characters, but it's less interested in their identity than their plasticity.
  53. The Darkness
    This enterprise is so listless that one can't even work up a proper head of self-righteous steam over the spooky Native American clichés that drive the plot.
  54. Sacrifice
    The film's very design turns out to be a whimpered bark followed by a toothless bite.
  55. Too Late
    All the narrative hopscotching is little more than a superficial ploy to gussy up a clichéd redemption tale.
  56. Nina
    The film is committed to the sort of broad strokes that reduce a great artist's life to a spectacle of self-pity.
  57. The Infiltrator
    Its clunky incidents of exposition leave us with no real understanding of what anyone is thinking or feeling.
  58. Life
    Life, an incredibly square and familiar studio product, baits and switches on two disappointing propositions, moving swiftly from something expectedly cliché to something dismayingly derivative.
  59. Being Charlie
    Most of the film's characters are unconvincing, flattened out by Charlie's self-focused lens.
    • 53 Metascore
    • 25 Critic Score
    Bang Gang (A Modern Love Story)
    Eva Husson's controversy-courting debut is neither as lewdly subversive or as raucously debauched as its provocative title.
  61. ma ma
    Julio Medem's film has enough hanky-courting plot mechanics for three remakes of Beaches.
  62. From the Land of the Moon
    The film is so humorless and in love with its own obviousness that it grows laughable.
  63. Insidious: The Last Key
    The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome.
  64. My Love, Don't Cross That River
    Jin Mo-young fetishizes his subjects' wholly modest behaviors as cute manifestations of a pure form of human interaction.
  65. The Grinch
    The film’s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.
  66. Tomb Raider
    This isn’t an adaptation of a video game so much as an adaptation of a video game’s tutorial level.
  67. Table 19
    Each of Table 19‘s faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.
  68. The 9th Life of Louis Drax
    Every incident in the film is a time-bidding maneuver, completely and unimaginatively untethered from logic.
  69. For the Plasma
    The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake.
  70. Rupture
    It attempts to dress up torture-porn tropes with a late-inning switch to science fiction that spectacularly backfires.
  71. Mr. Church
    Bruce Beresford's film is remarkable for how it manages to indulge so many offensive and shopworn clichés at once.
  72. Brimstone
    Its bid for social correctness does nothing to make the juvenile and numbing fixation on brutality any more palatable.
  73. Jack Goes Home
    The film veers almost at random from ghost story to family drama to erotic thriller to black comedy.
  74. Come What May
    Christian Carion's film shamelessly wrings excitement from the recreation of violent ideological conflict.
  75. The Human Surge
    The film’s default state is an ambient inertia that gestures vaguely in multiple directions without concerning itself with the hard work of constructing an argument, a convincing milieu, or even a compelling mood.
  76. Lady Macbeth
    It isn't until its final moments that Lady Macbeth turns into the kind of meaningless, mean-spirited, and proudly irredeemable non-character study that likens it to, say, last year's emptily foreboding Childhood of a Leader.
  77. Mute
    Mute is so slow and arbitrarily over-plotted that it's difficult to believe that Jones also directed the spry and enjoyable Moon and Source Code.
  78. The Hollow Point
    Gonzalo López-Gallego's direction isn't confident enough to allow us to ignore The Hollow Point's contrivances.
  79. Mulan
    Walt Disney’s Mulan remake perfunctorily recycles the worst aspects of the 1998 animated version and roundly fails to convincingly execute the few deviations that it does attempt.
  80. The Comedian
    Nearly everything in Taylor Hackford's tin-eared comedy is as ersatz as the Robert De Diro character's rage is real.
  81. Life on the Line
    For a film about such a singular profession, Life on the Line offers surprisingly little insight into linemen's day-to-day labor.
  82. 100 Streets
    Throughout the film's three interconnected stories, Jim O'Hanlon favors the blunt, maudlin manipulations of Crash.
  83. The Last Word
    Its main character's transformation isn't significant enough to justify her complete redemption in the eyes of those around her.
  84. Videophilia (and Other Viral Syndromes)
    What the film embodies, unfortunately, the listlessness of its slacker characters.
  85. Sleight
    Sleight never shows much interest in exploring how blackness can inform its genre's tropes.
  86. Friend Request
    The viewer anticipates satire from such a sociologically loaded premise, but director Simon Verhoeven and co-writers Matthew Ballen and Philip Koch predictably utilize Facebook for the purpose of superficially spit-shining another wanly Americanized J-horror retread.
  87. Alone in Berlin
    The film attempts a tone of tragic understatement that registers instead as flat, plodding, and underfelt.
  88. Unforgettable
    The truly depressing thing about a thriller as undercoocked as Unforgettable is its failure to fly on dark fantasy.
  89. The Ottoman Lieutenant
    More conspicuous than its rote melodrama is the way the film elides the concurrent genocide of ethnic Armenians by Ottoman forces.
  90. Midnight Sun
    Throughout, the film's tone vacillates jarringly between corny, broad humor and unrestrained treacle.
  91. A Ghost Story
    An empty exercise in imitative long-take aestheticism, A Ghost Story fills its distractingly round-cornered frame with endless repetitions on a visual gag.
  92. Aftermath
    The film evokes nothing more strongly than a live-action adaptation of a Crate and Barrel catalog.
  93. Mine
    The film has absolutely no interest in the dilemmas or after-effects of war and occupation.
  94. The Institute
    The Institute seems constantly on the verge of dipping into spoof, though of what exactly is difficult to say.
  95. Bright
    A welter of dissonant intentions, the film fails to seamlessly intertwine its elements of realism and fantasy.
  96. Voice from the Stone
    In none of its manifestations is grief as tidy and meticulously arranged as in Eric D. Howell's film.
  97. Hot Summer Nights
    Like the teenagers at its center, Hot Summer Nights tries too hard to look cooler than it ever could be.
  98. Venom
    The final act's full-tilt embrace of action effectively undermines Tom Hardy's flashes of actorly idiosyncrasy.
  99. Mary Magdalene
    As the plot mechanically moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life feels completely beside the point.
  100. Unlocked
    With its dull mixture of indifferently staged exposition and action, it suggests a primitive side-scrolling video game.
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