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. The Lazarus Effect
    David Gelb doesn't evince so much as a single compositional sleight of hand, merely delighting in turning lights on and off and watching Zoe appear in random places.
  2. Smurfs
    Its pastiche of Into the Spider-Verse is revealed to be nothing more than window dressing.
  3. Teenage Mutant Ninja Turtles
    A film so overworked to ensure mass-market appeal that it loses the charming oddness and loose goofiness that has allowed these characters to endure.
  4. ma ma
    Julio Medem's film has enough hanky-courting plot mechanics for three remakes of Beaches.
  5. Countdown
    If there’s an ethos that Justin Dec’s film believes in, it’s only that “death sucks.”
  6. God Is a Bullet
    Aside from the red stuff, the film is scarcely interested in what’s inside its characters.
  7. This Means War
    This Means War seems so concerned with being the best product, it doesn't even know how to be good trash.
  8. Paradise City
    If only everyone else had followed John Travolta’s lead, then the film might have lived up to its title.
  9. That's My Boy
    That's My Boy lazily exists in a fantasyland of Adam Sandler's perpetual adolescence, even as it generates some moderate comic friction from Sandler and Andy Samberg's testy back-and-forth.
  10. 5 Days of War
    Renny Harlin seems now incapable of taking a movie even as far as a few frames.
  11. Reuniting the Rubins
    Yoav Factor can't decide whether he wants to play his broad scenario as an exaggerated farce or as a heartwarming testament to blood ties.
  12. A Perfect Man
    In its elliptical presentation of its characters' lives, brings to mind the latter-day films of Philippe Garrel, but Kees Van Oostrum's genre experimentation aligns him with Paul Verhoeven.
  13. The Road Within
    The film's tired sentimentality aside, its general lack of empathy is most damning.
  14. Silent Night, Deadly Night
    Silent Night, Deadly Night brought the idea to new levels of cold sleaziness.
  15. Death Wish
    At a time when Americans are constantly bombarded with reports of unpunished police brutality, the film suggests that the true problem with justice in our country is that law enforcement isn't violent enough.
  16. High School
    As sure as marijuana gets you high, you can count on weed-themed comedies cropping up every few years, each hoping to become a stoner-classic staple--a fate to which High School falls far short of achieving.
  17. Fathers and Daughters
    The film's weird reformulation of the Electra complex is nothing short of a sexist fantasy of salvation.
  18. Night Hunter
    The film is so clichéd and scattershot as to make Copycat look like Peeping Tom by comparison.
  19. Red Dawn
    It feeds the warrior fantasies of adolescent boys with a testosterone-heavy tale of a war free of moral complications.
  20. In Search of God
    This is didactic self-help drivel of the worst kind, as filmmaker Rupam Sarmah creates a return-to-the-origin narrative contaminated by what Kathryn Bond Stockton would surely call "kid Orientalism."
  21. Blended
    The filmmakers only bother to lay out comedic set pieces that are simply family-friendly big-budget variations on Jackass stunts.
  22. Serving Up Richard
    After a promising entrapment scene that offers some casually eerie narrative details, the film collapses, lurching awkwardly between a variety of tones and intentions.
  23. November Criminals
    The film advances that old Hollywood trope: Blacks can't get justice unless whites are willing to get it for them.
  24. Inheritance
    Simon Pegg occasionally fulfills the nightmarish potential of the film’s fairy-tale premise.
  25. Kill Switch
    Dan Stevens navigates the film’s literal and thematic alleyways with the same enthusiastic befuddlement that convinced many to soldier through Legion‘s more impenetrable stretches.
  26. Love the Coopers
    Sloppy and haphazard where it should be calculatedly chaotic, it can't ever seem to settle on an appropriate tone.
  27. Texas Chainsaw 3D
    There's no deliberate Texas Chainsaw Massacre 2-style comedy to the film, just dim-witted gruesomeness retrofitted with gimmicky contemporary trappings.
  28. Hot Pursuit
    The only thing that could've made Sofia Vergara's misguided contribution grislier would have been to fellate a Chiquita banana.
  29. House at the End of the Street
    The film is essentially toothless, but it never stoops to humorless torture-porn theatrics.
  30. 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.
  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. Crazy Eyes
    While the male characters are certainly not presented as models of enlightened behavior, their antics and crises are indulged in a manner not extended to their female counterparts.
  33. Dark Summer
    The cacophony of visions, broken mirrors, and mutilations only points to the ghost in the machine respecting The Craft as its spirit animal.
  34. A Dark Truth
    A Dark Truth is one of those unfortunate projects whose component parts are immediately at odds with one another.
  35. 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.
  36. Winter's Tale
    Fantasy is heavily dependent on vision, which Mark Helprin had in spades, but the look of Akiva Goldsman's fantasy is limp, timid, and occasionally outright awkward.
  37. A Fantastic Fear of Everything
    Strands of Simon Pegg's amiable persona are found in the film's more tolerable bits, but even this seasoned vet's unique voice is lost amid the glut of references to other work.
  38. 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.
  39. Artemis Fowl
    Artemis Fowl concocts an adventure that requires its privileged hero to go virtually nowhere, physically or emotionally. As if he ordered it on Instacart, conflict is simply dropped off on his front stoop, and all he has to do is throw on some shoes and sunglasses to pick it up.
  40. The Perfect Age of Rock 'n' Roll
    There's nothing inherently flawed about this nomadic and potentially life-affirming narrative, but Rosenbaum manages to instill every moment on the road with a sense of shrill conventionality.
  41. 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.
  42. Seventh Son
    As is often the case in films like this, Seventh Son is at its weakest when it tries to leaven its brink-of-disaster gravity with a little nerdy humor.
  43. Alex Cross
    Expositional and often self-serious to the point of genuine awkwardness, the dialogue is never as haltingly unconvincing as when it's attempting to give some approximation of Alex Cross's essential looseness and good humor.
  44. Playing It Cool
    As characters endlessly digress on the differences between rom-coms and real life, the film evinces a schizophrenic relationship with its own inside-baseball cynicism.
    • 30 Metascore
    • 25 Critic Score
    My Way
    Many films are saved in the editing room, but how many are ruined there?
  46. CBGB
    As the film moves from one musical performance to another, the result increasingly feels like a series of celebrity impersonations set to a best-of-punk compilation album.
  47. The Outsider
    The film is subsumed by the unshakable sense that Jared Leto is intended to make Martin Zandvliet's take on the yakuza underworld more palatable for American audiences.
  48. The Babymakers
    A safe, laugh-free exercise that gets to have its fun, such as it is, because it's all in the service of the most conservative notions of domestic normality.
  49. Kill Me Three Times
    The affectionate humanism that typically laces Simon Pegg's postmodern self-awareness is missing from Kriv Stenders's film.
  50. Affluenza
    The film is like an episode of Gossip Girl that's mistaken itself for one of the great satires by Evelyn Waugh.
  51. Little Boy
    It conveys life experience to such a sentimentalized degree that the world comes to resemble only the sham of a Norman Rockwell painting.
  52. The Boy Next Door
    The camera regards Guzman's buttocks and Lopez's breasts with an evasion of visual pleasure that could be blamed on the actors' nudity clauses if the entirety of the film didn't resemble a Lifetime movie embarrassed to have found its way to theaters.
  53. The Electric State
    There's nothing behind its contemptible eyes, no spine to house the fading diode that once contained a soul.
  54. Basmati Blues
    Danny Baron's film awkwardly melds Bollywood romcom tropes with a half-hearted critique of the GMO industry.
  55. Night Train to Lisbon
    Bille August's film is a protracted, soporific trip into Portuguese history that would like to be a romantic thriller.
  56. Paulo Coelho's Best Story
    Daniel Augusto relies on familiar tropes pertaining to the sexy, rebellious rock-star artist who does things his own way.
  57. There Are No Saints
    At its best, Alfonso Pineda Ulloa’s film gleefully embodies the grungy spirit of classic exploitation cinema.
  58. Legend
    What with the film's cotton-candy mise en the scene, rhyming goblins (“Mortal world turned to ice/Here be goblin paradise”), sexless pixies and elementary light/dark metaphors that reference the order of its universe, Legend is a gothic fairy tale brought to life.
  59. Stonewall
    At its worst, the film dangerously repackages the queer experience using language invented by those originally deployed to break it apart.
  60. The House
    The House's limp comedic pieces are only sporadically enlivened by a game cast.
  61. Always Woodstock
    The filmmakers play Catherine's disgustingly narcissistic sense of entitlement as endemic to the supposedly girl-next-door charms befitting the film's thoroughly normative gender politics.
  62. The Smurfs
    Like the show, this boring, lazy, clumsily staged, overly lit, unnecessarily 3D-ed contraption even culminates with some half-hearted moral hectoring-in this case, the togetherness of the Smurfs works to validate heteronormative values.
    • 30 Metascore
    • 12 Critic Score
    The Right Kind of Wrong
    The film is so in love with its unoriginal premise that it can't see the forest for the trees, treating reality like an occasionally relevant prop and stalking as a sweetly romantic gesture.
  64. 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.
  65. Big Gold Brick
    Brian Pestos’s flair for go-for-broke zaniness transmutes what might otherwise have been a lump of self-indulgent clichés into gold.
  66. Endless Love
    Shana Feste's film seems blissfully unaware that great fights require truly substantial conflicts.
  67. Cabin Fever: Patient Zero
    This is less a movie than a dutiful renewal of a recognizable title's licensing rights.
    • 30 Metascore
    • 12 Critic Score
    Nature Calls
    Writer-director Todd Rohal fills muddled scenes with manic amounts of jokes that all manage to land with a thud.
  69. Friday the 13th Part VI: Jason Lives
    Though it has the requisite murder every 10 minutes or so (including victims snapped in half and punched through the heart, and a triple decapitation), Friday the 13th Part VI: Jason Lives feels more like a harbinger for the Scream series with its self-aware jokiness.
  70. The Gallows
    The film is sstrictly a high-tech spin on one of those Scary Stories to Tell in the Dark.
  71. Zookeeper
    It's monumentally terrible. "Big Mommas: Like Father, Like Son" now has competition for worst picture of the year.
  72. She Hate Me
    Most contracts are negotiated with John Hancocks, but in She Hate Me, deals are sealed with hot lesbian action. Spike, get a clue.
  73. Pilgrim Song
    It aims for a sense of soulful introspection that instead comes off as an unwitting parody of languid indie conventions.
  74. Daddy's Home 2
    The film portrays parenting as the death of manhood, a final surrender to the castrating effects of domesticity.
  75. The Condemned
    It adds up to a methodically bland, intellectually sluggish exercise in guilt-tripping that's nonetheless still more interested in its rich and sexy characters than the supposed unfortunates.
  76. Jamesy Boy
    The movie adds up to little more than an interminable bildungsroman, sunk early and often by the desperately miscast Spencer Lofranco.
  77. 13
    The filmmakers are so generally clueless about getting the most out of a provocative concept that it's like running into a subtextual brick wall.
  78. Louder Than Words
    Never once does it project an intuitive understanding of how humans would behave or react in the midst of such a shattering misfortune.
  79. Don't Go in the Woods
    Coming across as a promotional showcase for a gaggle of young up-and-coming singer-actors, Don't Go in the Woods tethers together numerous indie-rock musical numbers with a backwoods-horror-film framework that's the definition of an afterthought.
  80. Peppermint
    Pierre Morel's first feature film set in the United States is brainless propaganda for the MAGA market.
  81. Vehicle 19
    As one incoherent action scene follows another, one's left staring at a film with nothing to respond to, waiting for it all to be over.
  82. Nurse 3D
    Rather than capture truly pained souls tangled in exuberant horror tropes, the filmmakers settle for retrograde anguish and warmed-over artistry.
    • 29 Metascore
    • 75 Critic Score
    8 Million Ways to Die
    It’s a fine swan song for Ashby.
    • 29 Metascore
    • 25 Critic Score
    Trade of Innocents
    Trade of Innocents is as much a piece of social-justice campaigning as it is a work unto itself, an important fact to remember when considering its many flaws.
  85. Answers to Nothing
    Speculation is futile, as plausible, worthwhile answers are the last things Answers to Nothing is prepared to give. Not that you really cared anyway.
  86. Battle of the Year
    Remarkably, the highlight of Benson Lee's film, essentially a fiction reboot of his Planet B-Boy, isn't the scene where Chris Brown gets punched in the face.
  87. Hurry Up Tomorrow
    The film desperately tries to convince us that it’s peeling back the layers of the Weeknd’s persona in order to show you what’s really going on inside his head. But, in defiance of Anima’s wishes, Hurry Up Tomorrow lacks the honesty to confront what’s there.
  88. Hot Tub Time Machine 2
    Josh Heald's script takes the easy way out, ending the film with a torrent of slapdash sentimentality.
  89. Drive Hard
    Drive Hard is the action-film equivalent of one of those folks who relentlessly speak of having it tough all over as they plan their third yearly vacation.
  90. Ratchet & Clank
    The film crams in jokes long past the point of relevance and often to outright distraction, if not annoyance.
  91. 1st Night
    The political dynamic that underpins The Rules of the Game is nonexistent in 1st Night, which is fixated entirely on the zany sexcapades of its characters.
  92. Tasting Menu
    There's a sinister, even insidious quality to a film that insists upon using incessant food montages not as a source of passion, but fodder for class-based self-congratulation.
  93. Rock the Kasbah
    The film quickly settles into a depressingly one-note groove as a culture-clashing circus act.
  94. Bright
    A welter of dissonant intentions, the film fails to seamlessly intertwine its elements of realism and fantasy.
  95. Hector and the Search for Happiness
    It culminates in a weepy climax that verifies its status as a proud hunk of propaganda from America's massive self-help industry.
  96. Force of Nature
    The film presents its scattershot cop-movie tropes in earnest, as if, like hurricanes, they were natural, unavoidable phenomena.
  97. Beginning of the Great Revival
    Beginning of the Great Revival is muddled, all right, but it's the helter-skelter speed at which it ticks off names and incidents, both in hopelessly confused action and on-screen text, that seems nearly unprecedented.
  98. Old Fashioned
    Any masochistic joy that can be derived from watching the film owes to seeing it take its bullheaded conceit to its logical, artless extreme.
  99. The Best of Me
    Even permitting that the movie's setup counts almost by default as one of Nicholas Sparks's more complicated scenarios, that makes his failure to draw up compelling, flawed, human characters all the more conspicuous.
  100. The Crash
    The film may be too preposterous to take seriously, but at least writer-director Aram Rappaport trains his sights on the right enemies.
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