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 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.
  2. Catch Me Daddy
    The film plods from one gruesome moment to the next, as if its mere aversion to optimism constitutes a philosophy.
  3. The Walking Deceased
    This juvenile horror-comedy spoof is primarily, if unintentionally, a cautionary tale about the perils of allowing brahs to make movies.
  4. Keeping Up with the Joneses
    By the time the film limps toward its Marrakech-set epilogue epilogue, its experiment in social osmosis is as much a failure as its B-sitcom-grade yuks.
  5. Survivor
    This is the kind of filmmaking that gets touted as "workmanlike" when it's really straight-laced to the point of tepidness.
  6. Cas & Dylan
    The film simply mucks up its earnest take on the buddy movie with undercooked characters and on-the-nose writing.
  7. The 11th Hour
    Writer-director Anders Morgenthaler's film is practically an exercise in over-explication.
  8. 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.
  9. Phantom Halo
    A genre mishmash cobbled together from the refuse of disparate visual and narrative modes.
  10. Bound to Vengeance
    It trivializes victim trauma by treating its main character's best-laid plans as punchline fodder.
  11. Dragon Blade
    Slacker and even less involving than the similarly terrible global kill-fest Last Knights, but easier to watch for the inadvertent camp value of two of the prominent performances.
  12. Some Kind Of Beautiful
    A hodgepodge of horny-old-man clichés writ large, staged as a gleeful affirmation of its male lead's ego and entitlement.
  13. Lucky Stiff
    Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors.
  14. Staten Island Summer
    Breaking the laws of human nature is an ancient comic convention, but it only works when it leads to a laugh.
  15. Bad Boys for Life
    The film may leave you wondering what purpose this franchise serves if not to give expression to Michael Bay's nationalist, racist, and misogynistic instincts.
  16. Fathers and Daughters
    The film's weird reformulation of the Electra complex is nothing short of a sexist fantasy of salvation.
  17. Leatherface
    Alexandre Bustillo and Julien Maury's anonymous work here could've been overseen by any hipster looking to make a mark at Platinum Dunes.
  18. Front Cover
    The very few instances where stereotypes are challenged are forced and didactically delivered.
  19. Risen
    It's an episode of Without a Trace: Jerusalem presented with all the panache of a Trinity Broadcasting Network TV special.
  20. Jason and Shirley
    Stephen Winter's film doesn't earn the gall it evinces by pissing on Shirley Clarke's masterpiece.
  21. Hyena Road
    Paul Gross situates the film's events somewhere between violent, militaristic fantasy and gentler, anti-war lament.
  22. Lazer Team
    The premise thoughtlessly combines elements from Marvel comics, Men and Black, and a swath of '80s pop culture to curiously neutered effect.
  23. How to Plan an Orgy in a Small Town
    The ingenuity of writer-director Jeremy LaLonde's film ends with its title.
  24. Collateral Beauty
    David Frankel's film argues that the power of miracles can be manufactured by those who can fund them.
  25. Transformers: The Last Knight
    The sensory overload of Michael Bay's hyperkinetic cinema is such that it eradicates any actual sense of place.
  26. The Great Gilly Hopkins
    Glenn Close's face teems with a flawlessly controlled gravitas that’s completely at odds with the film’s ordinariness.
  27. Backtrack
    The film is the cinematic equivalent of watching a Rubik's Cube noisily solve itself for 90 minutes.
  28. Rio, I Love You
    The hygienization of Rio into what at times looks like a soulless Southern California town is so scandalous it feels like a spoof of the Cities of Love series.
  29. The Offering
    It inspires retrospective gratitude for the empty yet slick craftsmanship of someone like James Wan.
  30. Les Cowboys
    Never content to suffice as a mediocre thriller, Les Cowboys is a wellspring of embarrassment for all parties involved.
  31. Honeyglue
    It's more interested in borrowing terminal cancer as a narrative shorthand for intensity than investigating it as a lived experience.
  32. Life, Animated
    It never addresses Disney's wholly manufactured stranglehold on turning adolescent desire into a consumerist impulse.
  33. I Am Not a Serial Killer
    The film comes unsettlingly close to being an apologia for the kind of violence that stems from adolescent disaffection.
  34. Hillary's America: The Secret History of the Democratic Party
    The film is an incoherent and aesthetically barren harangue masquerading as a revisionist history lesson.
  35. Ithaca
    The film is confused in conception, dreary in execution, and completely lacking in forward momentum.
  36. A Dog's Purpose
    Lasse Hallström's gooey film exists only to offer comforting reassurances about dogs' natural servility.
  37. Happy Birthday
    It plays like it was written by a bro who just discovered the early films of Quentin Tarantino.
  38. The Unspoken
    It feels like Sheldon Wilson tossed a bunch of third-hand scares in a blender and set it to puree, resulting in a gray, flavorless sludge.
  39. The Sense of an Ending
    Ritesh Batra's film is a tale of white nostalgia that should have found its footing on dramatic grounds.
  40. Arsenal
    It's a misnomer to label the climax of Steven C. Miller's patently sick Arsenal an actual climax.
  41. Eloise
    Robert Legato's film is lifelessly composed of the usual tropes of horror films set in mental asylums.
  42. The Girl in the Spider's Web
    Fede Álvarez’s film suffers from a compulsion to be capital-C cool, and all of its ostensibly stylish shots are untethered to any semblance of a sustained reality.
  43. Black Butterfly
    Its incoherent turn of events attempts to stupefy us into mistaking its deeply flawed internal logic for ingenuity.
  44. Julian Schnabel: A Private Portrait
    The film is intended to be placed at the altar of Julian Schnabel, an artist so singular that words simply fail.
  45. The Recall
    Mauro Borrelli's The Recall has the look of a SyFy original movie and the self-seriousness of Ridley Scott's recent Alien films.
  46. The Drowning
    If there’s anything worth mulling over about The Drowning, it's the way it proffers the East Coast couple as an inevitably miserable institution without really meaning to.
  47. The Happytime Murders
    The film aims only to shock, refusing to deliver anything in an intriguingly post-ironic way in the process.
  48. 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.
  49. Basmati Blues
    Danny Baron's film awkwardly melds Bollywood romcom tropes with a half-hearted critique of the GMO industry.
  50. Attack of the Killer Tomatoes!
    The really frustrating thing about Tomatoes is the toothlessness of its satire.
  51. 211
    The film relegates Nicolas Cage to a supporting player and crowds him with considerably less charismatic performers.
  52. 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.
  53. 22 July
    That a drop from John Williams’s Jaws score wouldn’t be out of place on this film’s soundtrack goes to show how tactlessly Paul Greengrass milks tragedy for titillation.
  54. Cats
    This adaptation gets straight to the heart of the material, which is basically two hours of stray cats introducing themselves.
  55. Miss Bala
    The Mexico of this film is merely a place of abject lawlessness, whose hellishness exists only to stoke our fascination for how the protagonist grows as a person by drawing on her inner strength.
  56. The Aspern Papers
    The words of Henry James have never sounded as leaden and preposterous as they do in Julien Landais’s The Aspern Papers.
  57. Coming 2 America
    Even by the woeful standards of decades-too-late comedy sequels, Coming 2 America is desperate, belabored, and thin.
  58. Papi Chulo
    A shrill and insipid spectacle of cross-cultural communion, but don’t call it stupid, as that would suggest that it doesn’t know exactly what it’s doing.
  59. 10 Minutes Gone
    Almost every element of the film has been seemingly engineered to be the ne plus ultra of slapdash ineptitude.
  60. Force of Nature
    The film presents its scattershot cop-movie tropes in earnest, as if, like hurricanes, they were natural, unavoidable phenomena.
  61. We Can Be Heroes
    Robert Rodriguez’s film, like The Adventures of Sharkboy and Lavagirl in 3-D, fundamentally lacks a sense of wonder.
  62. Joe Bell
    The tired, tasteless gimmick at the center of the film inadvertently reveals its entire problem of perspective.
  63. Cosmic Sin
    Every story beat is unimaginatively cribbed from better films and every tepid exchange of dialogue is unconvincingly performed.
  64. Awake
    It’s difficult to imagine a high-concept thriller that coalesces around its one-line conceit less convincingly than Awake.
  65. 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.
  66. 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.
  67. The Desperate Hour
    The Desperate Hour’s broad, vague rendering of its characters is part and parcel of its troubling approach to its material.
  68. Fresh
    Fresh is pitched as a kind of genre corrective, except its tone-deaf cheekiness only results in a feeling of dreary regression.
  69. Alice
    Alice plays as an inadvertent parody of contemporary liberalism’s fascination with and fetishization of ‘70s black radicalism.
  70. The Takedown
    The Takedown’s supposedly inclusionary, pro-immigrant messaging is constantly undermined by puerile and dated humor.
  71. Madame Web
    Madame Web grinds to a halt as it gets bogged down in scene after scene of characters, both good and bad, standing around explaining their backgrounds, hang-ups, and desires.
  72. Hellraiser
    Any ambiguity over the veracity of the story’s events is quickly jettisoned to adhere to the demands of the leaden slasher-film plotting.
  73. Love Again
    The film is nothing but a chintzy promotional tool for Celine Dion.
  74. Foe
    At every turn, Garth Davis’s Foe not only fails to adequately redress or rework played-out tropes within its high-concept world, but its examination of marriage and identity is also hackneyed.
  75. The American Society of Magical Negroes
    There are versions of this premise relevant to a modern world, but the film’s point of view on the state of race relations feels stuck somewhere around 1954.
  76. The Ritual
    Like any number of Exorcist wannabes, David Midell’s film is a special kind of hell.
  77. City of Dreams
    The film resembles less a realistic peek into the modern slavery of immigrants in America as it does grist for the torture porn mill.
  78. The Electric State
    There's nothing behind its contemptible eyes, no spine to house the fading diode that once contained a soul.
  79. Locked
    Throughout, the filmmakers’ sympathies are lost in a confusing haze of cynicism.
  80. Night Patrol
    Ryan Prows’s film comes across as just straight-up exploitative.
  81. Return to Silent Hill
    Christophe Gans’s film does away with all the psychosexual nuance of Silent Hill 2.
    • 51 Metascore
    • 0 Critic Score
    Star Wars: Episode I - The Phantom Menace
    It's difficult to discern precisely where this all went wrong, and even more difficult to speculate about possible improvements.
    • 34 Metascore
    • 0 Critic Score
    Mother's Day
    A home-invasion film like Mother's Day is elongated coitus interruptus.
  84. Zookeeper
    It's monumentally terrible. "Big Mommas: Like Father, Like Son" now has competition for worst picture of the year.
    • 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?
    • 23 Metascore
    • 0 Critic Score
    Hansel and Gretel: Witch Hunters
    Tommy Wirkola's film suggests A Knight's Tale as penned by Seth MacFarlane.
  87. Here Comes the Boom
    As a comedy, the film aims low and manages to miss the mark entirely.
  88. Wrath of the Titans
    Made possible by the half a billion dollars Clash of the Titans garnered worldwide, Wrath of the Titans sputters and coughs on the fumes of its own inevitability.
    • 13 Metascore
    • 0 Critic Score
    Love, Wedding, Marriage
    Love, Wedding, Marriage is a movie so shallow and wooden, its actors less models than mannequins, that it resembles a furniture catalogue.
  90. 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.
  91. Reagan
    The film’s treatment of its subject is belligerently hamfisted, disingenuous, and incurious.
    • 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.
  93. Act of Valor
    A movie whose cinematic ineptitude is matched only by its ideological rottenness, Act of Valor features a cast of real-life active-duty Navy SEALS in order to grant the project's us-versus-them geopolitical worldview a sham moral authority.
  94. Golf in the Kingdom
    The film, for all its trite lessons, forgets that people mainly play golf because they enjoy it.
  95. Cold Fish
    A hybrid of the millionth send-up of the repressed/impotent Japanese patriarch and the "bad buddy comedy" that Barry Levinson held up as exhausted and bankrupt with 2004's "Envy."
  96. Brother's Justice
    Dax Shepard delivers an I'm Still Here-style mockumentary of staggering incompetence with Brother's Justice.
  97. 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.
  98. 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."
  99. Glitch in the Grid
    Eric Leiser's hackneyed documentary/stop-motion hybrid Glitch in the Grid presumes social importance by simply referencing the relationship between modern young artists and their inability to express themselves amid a failing U.S. economy.
  100. Snowmen
    I'm not sure what part of Snowmen doesn't scream completely inappropriate, sentimental Manichean drivel.
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