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. Saving Grace B. Jones
    This cumbersome and graceless 1950s-set period drama possesses the reactionary life insights and amateurish production values of a Lifetime soap.
  2. Unfreedom
    The film's troubled aesthetics are exacerbated by a screenplay that contains the trappings of amateur toil, including dialogue that harps on innocuous moments and trifling exposition.
  3. Dark Crimes
    There’s a lot of sexual violence in the film, but it scans as unimaginatively repulsive, as well as blatantly misogynistic.
  4. Outlaws
    The grim Australian biker drama Outlaws is little more than an endless stream of brooding, yelling, and “badass” posturing broken up by grisly violence and gratuitous sex scenes.
  5. Midnight in the Switchgrass
    Randall Emmett’s directorial debut is virtually indistinguishable from the scores of cheap VOD action thrillers that he’s produced to date.
  6. 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.
  7. Alvin and the Chipmunks: Chipwrecked
    It's that rare thing, a movie that clocks in under 90 minutes, but feels like an endurance test in every moment, at every plot concern, and every musical number.
  8. Return to Sender
    The kind of wholly misconceived thriller that begs asking precisely what its filmmakers were seeking to accomplish.
  9. Collateral Beauty
    David Frankel's film argues that the power of miracles can be manufactured by those who can fund them.
  10. The Snowman
    The Snowman is missing so much basic connective tissue as to be rendered almost completely inexplicable.
  11. Temple
    The film is only in the business of supplying the sort of fear that hinges entirely on the shock of the exotic.
  12. Jack and Jill
    If the result is a movie that seems like a much slicker, more condensed, and speedier version of the Sandler comedies that have guaranteed his grandkids' retirement, count it as a blessing that it's over quickly. Not without pain, but quickly.
  13. Sacrifice
    The film's very design turns out to be a whimpered bark followed by a toothless bite.
  14. The Sea of Trees
    There's little here to suggest that the film is anything more than a hastily cobbled-together studio star vehicle.
  15. The Cobbler
    Thomas McCarthy evinces no interest in the people who come into Max's store and wind up as fodder for his increasingly violent and self-absorbed escapades. Not a shred.
  16. Yoga Hosers
    Any of the film's attempts at moralizing are subsumed by Kevin Smith’s obsession with taking aim at his critics.
    • 23 Metascore
    • 25 Critic Score
    A Novel Romance
    For a film about writing a novel, A Novel Romance is surprisingly shallow in regard to its characters and superficial in terms of its chapter-structured façade.
    • 23 Metascore
    • 0 Critic Score
    Hansel and Gretel: Witch Hunters
    Tommy Wirkola's film suggests A Knight's Tale as penned by Seth MacFarlane.
  19. American Heist
    The film offers a veritable smorgasbord of dated, only-in-the-movies clichés about the debt-ridden working class.
  20. Brother's Justice
    Dax Shepard delivers an I'm Still Here-style mockumentary of staggering incompetence with Brother's Justice.
  21. Beneath the Darkness
    Overly expository dialogue abounds throughout Martin Guigui's movie, as do questionable filmmaking choices and plenty of stupidly unconvincing actions taken on the part of the film's characters.
  22. The Moment
    The film is a hybrid of a Lifetime movie focused on a "strong woman," a run-of-the-mill murder mystery, and a yogurt commercial from hell.
  23. Reagan
    The film’s treatment of its subject is belligerently hamfisted, disingenuous, and incurious.
  24. That's What She Said
    An embarrassing girls-behaving-badly indie romp you'd expect a group of friends to write after an all-you-can-drink brunch.
  25. Father Figures
    Father Figures, which finished shooting more than two years ago before spending endless months without a release date, is both meandering and bloated, suggesting the Frankensteinian result of brutal test screenings.
  26. Dark House
    The film's dialogue is knowing and the action sequences are elaborate, but not only in ways that advance the shady story toward its hokey denouement.
  27. Supercapitalist
    Ultimately plodding and resolutely old-fashioned, a corporate thriller for folks too square to indulge the possible existence of hungers so strong they must be satisfied at any cost.
  28. Friday the 13th
    It's a formula with no pretensions.
  29. Enter the Dangerous Mind
    The title of Youssef Delara and Victor Teran's new film pretty much sums up its shallow and exploitative take on mental illness.
    • 22 Metascore
    • 12 Critic Score
    New Year's Eve
    The lesson to learn from watching Garry Marshall's New Year's Eve, a predictably insufferable, self-congratulatory cash cow designed to be ingested and then happily discharged without a second thought by gullible moviegoers who just don't know any better, is that we live in a time without economic dignity, a time in which we must be ready to do just about anything for a paycheck.
  31. Martyrs
    It's hardly a desecration of Pascal Laugier's 2008 French horror film of the same name, but that assumes the original is a canonical text.
  32. The Legend of Hercules
    Given its virtuous subject matter and the relative bloodlessness of its violence, perhaps Renny Harlin means for this film to be a means of atoning for his previous cinematic sins.
  33. Getaway
    Though always speeding forward in some gear of ridiculousness, the film is a lot more fun when it's completely nonsensical, before its baddie's motives and harebrained plot are funnel-fed to the viewer.
  34. Summer in February
    As sumptuous as it is immensely shallow, the film practically revels in its attention to lush English landscapes as a means to distract from its derivative storytelling.
  35. Shark Night 3D
    It's refreshing to see Shark Night 3D director David R. Ellis try to pull off a semi-sincere second-generation "Jaws" rip-off, even if he doesn't quite succeed.
  36. Backgammon
    The imagery fails to express either the characters' or the filmmakers' obsessions or synchronicities.
  37. A Love Affair of Sorts
    David Guy Levy's movie foregrounds the potential ugliness of modern technology in order to comment on it. But that doesn't make the film's visuals any less hideous.
    • 22 Metascore
    • 12 Critic Score
    The Cold Light of Day
    Relates more or less the same story as Spy Kids, though in this case the kid is in his late 20s and the spy stuff is much less believable or robust.
  39. Exists
    In the wake of Bobcat Goldthwait's Wolf Creek, Exists's metaphorical ambitions are as under-realized as its story-circumscribing use of found footage.
  40. One for the Money
    One for the Money is like The Bounty Hunter by Andy Tennant, if you dipped it in self-tanner and strapped some Four Loko on it.
  41. Cannibal Holocaust
    Even the most desensitized, ghoulishly amoral gleaners of deviant cinema can’t just stare down the nastiness on display in Cannibal Holocaust and just shrug it off.
  42. Maniac
    Maniac simply exists as a wretched yet unforgettable succession of scenes meant to corrupt even the purest of minds, if you can help yourself from laughing uncontrollably at its overwhelming amount of inconsistencies.
  43. Reach Me
    Yell the word "independent" loud and long enough and people might forget that they're seeing the same old, patronizing Hollywood clichés, recycled, rebranded, and regurgitated for their gullible, eager consumption.
    • 21 Metascore
    • 38 Critic Score
    Saving Lincoln
    Under even the best of circumstances, Saving Lincoln would have to inevitably face the scrutiny of potential redundancy.
  45. The Angriest Man in Brooklyn
    Robin Williams once again proves he can insufferably crank the energy to 11 without batting an eye, only this time his frenzied comic demeanor is replaced with equally harried contempt.
  46. K-11
    It careens from one tonal extreme to the next, uncertain about whether it wants to be a gritty drama, camp artifact, or violent prison-sploitation flick.
  47. Let's Kill Ward's Wife
    Any pretense of satire collapses by the film's midpoint, leaving only the contempt.
  48. Dirty Grandpa
    As in Judd Apatow's films, crassness is boasted as shamelessness, and calculated sentimentality is dressed up as empathy.
  49. 211
    The film relegates Nicolas Cage to a supporting player and crowds him with considerably less charismatic performers.
  50. Silver Circle
    Amateurish and hyperbolic, this animated feature directed by Pasha Roberts makes quite clear his political leanings.
  51. The Clapper
    Though it pretends to stick up for all the schmucks in the world, the film is really just laughing along with the assholes.
  52. General Education
    Too derivative to be amusing and too earnest to be parodic, it assumes the form of countless other teen comedies minus any wit or drama.
  53. Life Itself
    Despite its title, Life Itself doesn’t revel so much in the joys and travails of life as it does in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
  54. Accidental Love
    So flimsily constructed, visually and narratively, that it resembles a middle-school play that's been hastily filmed on an antique camcorder.
  55. Gunslingers
    In the end, Nicolas Cage can only do so much to bring this hastily assembled oater to life.
  56. Someday This Pain Will Be Useful to You
    Roberto Faenza shoots his Manhattan-set action with a glossiness that's as bland as the soundtrack ballads.
    • 20 Metascore
    • 12 Critic Score
    A Haunted House
    If you're wondering why A Haunted House exists alongside the upcoming Scary Movie 5 rather than instead of it, you may already have given the subject more thought than Marlon Wayans had hoped.
  58. 30 Beats
    While it lends itself to some interesting insight on the politics of non-exclusive, fuck-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.
  59. Would You Rather
    A shrill Indiewood torture porn that, despite promised shocks and revulsions, doesn't even have the conviction to hold its camera on the story's most appalling twists.
  60. The Stroller Strategy
    What most rankles about the film is the way that its insistence on paternal instincts as the principal signifier of male adulthood leads it to sanction the most childlike behavior of all.
  61. Absence
    The tension almost immediately leaks out of the narrative once we realize we're watching a found-footage horror movie.
    • 20 Metascore
    • 12 Critic Score
    Cellmates
    The film offers Tom Sizemore the perfect opportunity to prove himself worthy of a comeback. Alas, he fails spectacularly.
  63. Assassin's Bullet
    Isaac Florentine's film is maligned with gaping plot holes, terrible expository dialogue, and obvious moments of foreshadowing.
  64. Crave
    The film's method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
  65. Reprisal
    Reprisal is at pains to profess its faith in the symbols of law and order, but it cannot fully repress its almost erotic longing for the unfettered violence of the terrorist.
  66. I Spit on Your Grave
    One can’t mistake I Spit in Your Grave for anything other than a raging political text, a rigorous reminder to the power of a disturbed imagination, be it victimizer or victim.
  67. Tomorrow You're Gone
    Hardboiled noir play-acting doesn't get more sluggish than in this leaden tale that blurs the line between reality and delusion in a way that's less intriguing than simply confusing.
  68. Grown Ups 2
    The obvious amount of hard work that went into this out-of-touch sequel is partly what makes it so irritating.
  69. Cavemen
    Cavemen is an apt title considering how the sensibility and maturity of the film's characters don't seem to have developed beyond primal, alpha-man impulses.
  70. The Lovers
    A shamelessly derivative and preposterous would-be blockbuster that goofily fashions itself as a sweeping romance, time-travel sci-fi tale, and gallant period piece all at once.
  71. Replicas
    The climax’s bizarre left turns culminate in a final image so bewildering that were the film not so relentlessly dour it might have clarified Replicas as an absurdist comedy.
  72. After Fall, Winter
    Taking the pedestrian and decidedly unsexy American male to Paris so he can become a sexual human being attuned to life's small pleasures is a tired device that perhaps only Woody Allen could possibly resurrect from the stinky pile of cinematic clichés.
  73. The Ultimate Life
    Its thinly veiled message of social conservatism and religious affirmations as the pathway to an ideal life is delivered with all the predigested sentimentality of a Hallmark card.
  74. The Strangers: Chapter 3
    It’s easy to imagine the nihilistic avenues that Renny Harlin’s trilogy capper could have gone down.
  75. Reasonable Doubt
    You may feel as if you're watching two or three abbreviated episodes of Law & Order in quick succession rather than a fully realized movie.
  76. Polar
    The film’s horniness and amorality, a slap in the face of fanatically cautious contemporary mores, might’ve been more shocking if it weren’t placed so firmly in quotation marks.
    • 18 Metascore
    • 12 Critic Score
    Stripped Down
    Stripped Down seems to prove, if other films hadn't already for you, that a director haunted by traumas and wrestling with demons doesn't necessarily produce artistically substantial films.
  78. The Vanishing Of Sidney Hall
    The seesaw of effect of oscillating between extolling Sidney’s genius and lingering on his anguish begins to feel like a child slowly burning an ant with a magnifying glass, occasionally taking breaks to truly savor the harm he or she is committing.
  79. Behaving Badly
    Falls back on the trappings of the film's innumerable teenage gross-out forefathers with tiresome vulgarity and rote misunderstandings in place of genuine insight.
    • 18 Metascore
    • 0 Critic Score
    The Darkest Hour
    In a year-end season stacked deep with worthwhile films, what possible incentive could there be for submitting to The Darkest Hour's utter pointlessness?
  81. The Devil Inside
    The film's contradictory and nullifying dilemma of wanting to be both scripted and vérité at once, a plight that affects so much contemporary TV, is temporarily quelled in heated scenes of curse-laden levitation and Linda Blair contortion, which dutifully deliver the scares.
    • 18 Metascore
    • 0 Critic Score
    Movie 43
    This is barely a movie at all, mostly due to its structural similarities to "SNL", but also because it acknowledges the fact that its own premises are inherently unfilmable.
  83. The Apparition
    The story is a worthy one, but the film lacks any daring expressive touches that might have made it, at the very least, noteworthy.
  84. Vice
    Vice takes the basic premise from 1973's Westworld and morphs it into an incoherent slog.
    • 17 Metascore
    • 38 Critic Score
    Best Night Ever
    The filmmakers make sure their female protagonists constantly look immature and irresponsible, and are intent on punishing them for wanting to have a good time.
  86. I Will Follow You Into the Dark
    A moralistic ending is telegraphed from the beginning and routinely fulfilled by the end, rendering the rest of this trite, visually unappealing mess virtually worthless.
    • 17 Metascore
    • 25 Critic Score
    The Human Centipede II (Full Sequence)
    The desire to eat someone's ass is almost always superficial; there's no thought of sustenance, and more sophisticated pleasures are usually imminent. Not so with The Human Centipede 2 (Full Sequence).
  88. Assholes
    It begins as a clever pseudo-mumblecore provocation with shades of Bruce LaBruce only to quickly turn into indefensible nonsense.
  89. Girls Against Boys
    Essentially a horror movie in which the source of the horror shifts from capital-M men to crazed lesbianism.
  90. All's Faire in Love
    All's Faire in Love's lackluster compositions and absence of rhythm are a perfect match for writer-director Scott Marshall's script (co-written with R.A. White and Jeffrey Ray Wine), which operates according to a Revenge of the Nerds-style us-versus-them template almost as stagnant as Ricci's phoned-in turn.
  91. The Last Face
    The Last Face's shameful exploitation of Africans doesn’t stop with the mere privileging of its two wealthy white doctors and their trivial personal struggles within the narrative.
    • 16 Metascore
    • 38 Critic Score
    Silent Hill: Revelation 3D
    Silent Hill: Revelation fundamentally misunderstands the appeal its source material.
  93. Authors Anonymous
    It takes the easiest approach to every scene, haphazardly juggling different tones without integrating them into a cohesive and consistent thematic identity.
  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. Trick
    Patrick Lussier’s film is an incompetent, nihilistic exercise in gore and pseudophilosophy.
  96. Once Upon a Time in Brooklyn
    As far as derivative crime sagas go, Paul Borghese's film might represent the new gold standard of shameless barrel-scraping.
  97. The Layover
    William H. Macy's The Layover was clearly conceived and written by men who have no interest in approaching female friendships with any degree of complexity, curiosity, or respect.
  98. Eloise
    Robert Legato's film is lifelessly composed of the usual tropes of horror films set in mental asylums.
  99. America: Imagine a World Without Her
    Beholden to the same plethora of taboos, half-truths, and outright lies traded en masse by mainstream conservatism for the last seven years.
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