Slant Magazine's Scores

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For 7,779 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: 4,353 out of 7779
  2. Mixed: 1,493 out of 7779
  3. Negative: 1,933 out of 7779
7779 movie reviews
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    • 62 Metascore
    • 63 Critic Score
    Wise Guys
    The macho bluster taken seriously in De Palma’s gorgeous but uninterestingly pumped-up Elliott Ness saga is here intriguingly skewered.
  2. The Photograph
    The film is at its best when it’s focused on the euphoria and tribulations of its central couple's love affair.
  3. The Lesson
    It’s a testament to the skills of the cast and filmmakers that The Lesson’s mysteries, while easy to foretell, are worth unraveling.
  4. Fall
    Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.
  5. Despicable Me 2
    The script's jumble of plot asides and family-friendly pandering is enough to make you want to root for a hero.
    • 62 Metascore
    • 88 Critic Score
    Night of the Creeps
    Night of the Creeps is the “I Love the ‘80s” of moviemaking. It has every element and cliché ever put into a film made in the greatest decade.
  7. Armand
    By the time we’re watching whole conversations be drowned out by noise of pounding rain, the abstract tendencies of Armand begin to feel like an act of unintentional self-sabotage
  8. Ted
    Seth MacFarlane's comedic modus operandi is to shock with outrageousness and pander with TV and movie citations via one non sequitur after another, a strategy that leads to a few laughs but nothing approaching lasting humor.
    • 62 Metascore
    • 88 Critic Score
    Buffalo Girls
    Todd Kellstein doesn't allow you to entirely indulge convenient (though understandable and perhaps irresistible) armchair outrage.
  10. Bad Turn Worse
    A reminder that crime movies pointedly inspired by other, better genre films can still be enjoyable, if they wear their influences lightly and cleverly connect them to something tangibly human.
  11. Visitors
    Godfrey Reggio's symphony of pristine 4K images doesn't add up to one grand epiphany, but an intermittent cluster of small ones.
  12. Not Okay
    Not Okay doesn’t make any points that, now over a decade into the ubiquity of social media, aren’t painfully obvious.
    • 62 Metascore
    • 63 Critic Score
    Beautiful Boy
    This complex emotional texture no doubt owes a lot to Bello's stunning performance, which works by screwing with the familiar conventions of reaction shots; she goes cold when we expect her to freak out and explodes when we expect her to be silent.
    • 62 Metascore
    • 50 Critic Score
    The Woman in Black
    In the end, The Woman in Black displays a higher regard for the material makeup of gruesome-looking Victorian dolls than it does for the psychological turmoil of its characters, making one wish that some of the money it budgeted for cranes and fog machines had been offered to a script doctor.
  15. The Bookshop
    The Bookshop is steadfast in avoiding drama at all costs.
  16. Goodbye to All That
    If Junebug focused on quieter moments of extended family dynamics, with its city-meets-country clashes delving into resonant, region-specific sensibilities, Angus MacLachlan never goes beyond signpost sentiment.
  17. My Scientology Movie
    The only element that significantly differentiates this documentary from its peers is Louis Theroux's good-natured cheekiness.
  18. Wakefield
    Writer-director Robin Swicord's film seems content to merely carry out its absurdist premise until the bitter end.
  19. Yakuza Apocalypse
    The film doesn't add up to much, but it's a diverting tour of Takashi Miike's anything-goes, splatter-paint sensibility.
  20. Ten Thousand Saints
    Even when tragedy strikes early on, the revelation is just another "growing up is hard" dot on the grid.
  21. The Life and Crimes of Doris Payne
    Even at 74 minutes, the documentary comes to feel arduous in its recycling of the same points and imagery, the filmmaking as plodding as its subject is polished.
  22. Ip Man 4: The Finale
    The film is overstuffed with characters and subplots that ultimately have little to do with Ip Man and his legacy.
  23. The Five-Year Engagement
    The film proves that neither gross-out gags nor pseudo-sophisticated Woody Allenisms are necessary to make a smart, funny comedy.
  24. Free Guy
    There’s so much discernible IP baked into Shawn Levy’s film to make its calls for artistic ingenuity feel hypocritical at best.
  25. The Salt of Tears
    Philippe Garrel illustrates the absurdity behind the myth of the complementary couple with the same cynicism that permeates his previous work but none of the humor or wit.
    • Slant Magazine
      • Posted Feb 23, 2020
  26. About Last Night
    Kevin Hart turns an essentially crude wingman into the conscience of the film's torturous, nettled discourse on romance.
    • 62 Metascore
    • 100 Critic Score
    Empire of the Sun
    While screenwriter Tom Stoppard supplies a literate script, it’s Spielberg’s peerless command of film technique that drives the film, with the director crafting a number of sequences that function as impressive examples of pure visual storytelling.
  28. Let the Corpses Tan
    Hélène Cattet and Bruno Forzani get so lost in their catalogue of fetishes that they lose grasp of the snap and tension that drive even a mediocre heist narrative.
  29. Thunderbolt and Lightfoot
    Of all the ’70s road movies, Thunderbolt and Lightfoot may be the only one in which the characters find themselves.
  30. The Mummy
    The Mummy is one of Hammer’s classics, cleverly fusing the human pathos of the original Universal film with the creature-centric physicality of the sequels the latter inevitably yielded.
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