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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  1. The Lair of the White Worm
    Cheap effects and gratuitous displays of nudity only heighten the film’s delirious demeanor.
  2. Divinity
    The story’s attempt at an excoriation of spectacle and empty pleasure comes off as little more than a reluctant swipe.
  3. Cyrano, My Love
    The film is imbued with an airless blend of buoyant comedy and soap-operatic backstage drama that recalls Shakespeare in Love.
    • 61 Metascore
    • 63 Critic Score
    The Last Gladiators
    Makes room for tender moments of reflection from a guy who, against impossible odds, still managed some victories, the biggest of which may be that he's still standing.
  5. Scary Stories to Tell in the Dark
    Once it gets past what feels like submission to genre demands, the drama reaffirms its focus on the central themes.
  6. The Wolverine
    This may be the year's best superhero movie because, for a sufficient amount of time, it doesn't feel like a superhero movie at all.
    • 61 Metascore
    • 75 Critic Score
    Sicario: Day of the Soldado
    Day of the Soldado's strained credulity in the last act has an undercurrent of kooky exhilaration, as the plot takes leaps that feel as reckless as they are refreshing in such a doleful film of terminal prognoses.
  8. Saltburn
    Be it sexuality, gender, class, age, or race, there’s scarcely a hot-button issue of identity that Emerald Fennell won’t invoke to amplify the stakes of an obvious metaphor.
    • 61 Metascore
    • 38 Critic Score
    The Taking of Tiger Mountain
    Cheery and happily empty-headed, the present-day subplot adds little but sentiment to a film shot through with cliché characters, a predictable plot, and undisguised reverence.
  10. Brain Damage
    This gnarly gem of 1980s-era punk horror still looks and sounds a little rough, but the film and the supplements justify the plunge.
  11. Dream Team
    Dream Team’s absurdist brand flirts with an art-for-art’s-sake disengagement: the meaningless void as light entertainment, yet another opportunity for burying our heads in the sand.
  12. Shooting the Mafia
    Kim Longinotto is so eager to celebrate her hero that she also glides past thornier portions of Letizia Battaglia’s life.
  13. Murph: The Protector
    One wonders if the filmmakers ever asked themselves who their film was intended for, or if it was at least a consciously self-serving effort from the outset.
  14. Past Life
    Its improbable story gives breath to the burden of fate on those living with a past unreconciled.
  15. Footnotes
    The ending cheapens its main character and weakens the film's firm commitment to the importance of workplace organizing.
  16. Kingsman: The Secret Service
    It's tructured in familiar, safe terms, plays for very low stakes, and appeals to no one so much as white, male teenagers with chips on their shoulders.
  17. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Birds of Prey feels at times less like its own story and more like a trailer for what’s coming next.
  18. Otelo Burning
    The film grows increasingly tiresome the more it flirts with melodrama, unraveling themes of jealousy, regret, and ambition in broad strokes.
  19. Nightmare Cinema
    The anthology justifies Mick Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.
  20. Kevin Hart: What Now?
    At times throughout this concert film, Kevin Hart’s brash honesty about himself can feel liberating.
  21. Watermelon Man
    Gradually, Van Peebles turns stereotypical images of postwar bourgeois prosperity against themselves, leading to a denouement that feels oddly empowering in its total alienation from the status quo.
  22. The Killer
    This remake is absent the far richer character development that made the original as much a melodrama as a shoot-’em-up.
  23. Saturday Night
    There’s a certain pleasure in basking in the anarchic behavior of the SNL cast as depicted in Saturday Night, but it’s rendered hollow by the film’s often grating mythologizing of them, which includes trying to turn the 90 minutes before the first episode into a frenetic comedy of Safdie-esque proportions.
  24. The Beast Must Die
    When The Beast Must Die is ripping off The Most Dangerous Game, it’s an amusing, if minor, genre offering.
  25. The Light Between Oceans
    Derek Cianfrance's film is a beautifully sustained study in adult themes of emotional crisis.
  26. Bad Hair
    The film has an exciting, lived-in quality that elevates what are otherwise some markedly unsteady attempts at horror.
  27. The Man Who Invented Christmas
    Since “humbug” is already spoken for by Ebenezer Scrooge, “opportunistic” would be the most apt word for The Man Who Invented Christmas.
  28. Beyond the Valley of the Dolls
    While Roger Ebert’s screenplay contains overt jabs at Hollywood’s culture of exploitation, Beyond the Valley of the Dolls cannot be called anything but sincere regarding its penchant for buxom female anatomy.
  29. Good Neighbors
    Good Neighbors basically runs on the assumption that Montreal is the last place you would ever want to live.
  30. Like Me
    Like Me is exhilarating because of Robert Mockler’s willingness to deviate from his satire so as to surprise himself with seemingly spontaneous emotional textures and tangents.
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