Slant Magazine's Scores

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For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. The Brothers Grimsby
    The film doesn't do much to satirize the spy genre, instead using its flimsy plot mostly as a scaffolding for a barrage of jokes.
  2. Remember
    Atom Egoyan is only interested in using the Holocaust as fodder for carrot-dangling plot contrivances.
  3. Marguerite
    Xavier Giannolli consistently glosses every sequence with a stagey kind of humor, and at the main character's expense.
  4. Hello, My Name Is Doris
    Michael Showalter is content to trade They Came Together's mischievous genre deconstructionism for cheap-shot indie quirk.
  5. Eye in the Sky
    Director Gavin Hood treats the aesthetics of high-tech surveillance as the opaque membrane through which the prosecution of the War on Terror must pass.
  6. City of Gold
    The film affectively defends food critic Jonathan Gold's assertion that it's ultimately cooking that makes us human.
  7. Lolo
    A curiously unsentimental director of romantic comedies, Julie Delpy sees romance for the work that it primarily is.
  8. Backgammon
    The imagery fails to express either the characters' or the filmmakers' obsessions or synchronicities.
  9. Creative Control
    The film is overrun with characters, but it's less interested in their identity than their plasticity.
  10. Hyena Road
    Paul Gross situates the film's events somewhere between violent, militaristic fantasy and gentler, anti-war lament.
  11. Whiskey Tango Foxtrot
    Its feminist perspective checkmates the frat-boy misogyny and machismo that too often mar films set in combat zones.
  12. Zootopia
    The film goes deeper in its allegorizing, tapping into the volatile nature of identity politics.
  13. London Has Fallen
    Like its predecessor, the film is content to dumbly relish in the inanity of Mike's rampage.
  14. Colliding Dreams
    The filmmakers' perspective is firmly aligned with the views of liberal Zionism, as the leftist peace activists are given the most screen time.
  15. Knight of Cups
    It has the uncanny quality of an out-of-body experience, not a torn-from-the-heart confessional.
  16. Songs My Brothers Taught Me
    The film is more taken by its own formal composition than enunciating the musical edification promised by its title.
    • 68 Metascore
    • 38 Critic Score
    The Wave
    It sketches an imperiled family worth caring about, but any goodwill is soon weathered by wave after wave of contrivance following the initial town-leveling event.
  18. Ava's Possessions
    Jordan Galland confidently perches the film right on the razor’s edge separating absurdist comedy from horror.
  19. Crouching Tiger, Hidden Dragon: Sword of Destiny
    Sword of Destiny has an appealingly inventive, unruly genre party streak running down its figurative back.
  20. Gods of Egypt
    Its virtues as throwback don't elide the foolhardly decision to imprint an ancient mythology on a contemporary superhero framework.
  21. Triple 9
    It arrives prepackaged with suggested comparisons to Michael Mann's Heat that it never earns because of its dreary literal-mindedness.
  22. Marguerite & Julien
    It finds its filmmaker completely lost between impulses to pay homage, play it safe, or offer something—anything—new.
  23. Backtrack
    The film is the cinematic equivalent of watching a Rubik's Cube noisily solve itself for 90 minutes.
  24. Risen
    It's an episode of Without a Trace: Jerusalem presented with all the panache of a Trinity Broadcasting Network TV special.
  25. Race
    This is a complication-smoothing take on Jesse Owens's elegant riposte to Hitler's racism at the 1936 Berlin Olympics.
  26. King Georges
    Erika Frankel’s documentary is finally revealed to be a story of prolonged adjustment to retirement, and a poignant illustration of sublimated redemption.
  27. Embrace of the Serpent
    Ciro Guerra's excesses in arthouse symmetry tend to arrive in the service of a just and angry correctivism.
  28. Eddie the Eagle
    It remains more committed to printing the uplifting legend of its title character than in actually examining the human beings underneath.
  29. The Witch
    The reworking of a tired horror trope into a transformed feminist symbol stands out as an impressive act of genre revisionism.
  30. Diamond Tongues
    Throughout, Pavan Moondi and Brian Robertson purposely indulge Hollywood formula only to subvert it.
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