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 Dictator
    Its dolly- and crane-operated polish points toward an acquiescence to Tinseltown mores, which until now Baron Cohen hovered cheekily above.
  2. Quantum of Solace
    Updating this anachronistic cash cow with the scrappy and sexy Craig still looks like a wise move, but it requires a greater quantum of style than Solace provides.
  3. Roman J. Israel, Esq.
    Throughout the film, a promising character study is smothered beneath lazy genre machinations.
  4. Gainsbourg: A Heroic Life
    Handsomely mounted and shot with an eye for nocturnal Parisian mystery by Guillaume Schiffman, Gainsbourg somewhat mercifully peters out after the grande scandale of the provocateur's reggae version of "La Marseillaise," which earned him the wrath of French patriots.
  5. I Declare War
    The film rarely takes us past its rather obvious conclusions about the potential bestial nature of kids and how that may translate to the larger battlefields.
  6. Danny Collins
    The chemistry between Pacino and his cast mates gives this lightly amusing contrivance surprising emotional resonance.
  7. Uncle Frank
    When the distance between uncle and niece shortens, Uncle Frank ceases to be a tender portrait of outsider kinship and transforms into a histrionic road movie with screwball intentions.
  8. Tragedy Girls
    The film's central theme, about where attention-starved narcissism leads when taken to extremes, isn't quite sufficient to sustain an entire feature.
  9. Come Play
    While it can be expected that high-concept horror movies will often be sewn together from the premises of recent genre successes, it’s much too easy to see the stitches in writer-director Jacob Chase’s Come Play.
  10. Rise of the Guardians
    This spirited enough yarn is sincere and heartening in its belief that our devotion to these youthful myths is healthy for our sense of wonderment.
  11. The Midnight Sky
    The film minimizes the tragedy of the human race’s near-complete annihilation by positioning it as the backdrop for the world’s most grandiose deadbeat-dad redemption arc.
  12. Pioneer
    Its greatest asset, and another trait it shares with Mann and Fincher's work, is a careful attention toward the particulars of its milieu in a way that doesn't call attention to those period touches.
  13. The Blob
    The heroes may be teenagers, but The Blob, though generally a goofy and enjoyable B-programmer ideal for watching while loaded in the middle of the night, is still one of the most pointedly reactionary of the 1950s’ alien-invasion movies.
  14. Ferdinand
    Any potential subtext of Munro Leaf's children's book has been bleached out in the marketplace-oriented Ferdinand.
  15. 13 Minutes
    Aside from further vilifying the Nazis, the film's ideological endgame remains a bit too slippery.
  16. Days of Grace
    Eventually, the film's impressive array of formal pyrotechnics overwhelms its morals.
  17. Dean
    One has to wade through a lot of eye-rolling comic marginalia to get to the film's pained beating heart.
  18. Frontera
    By turns abrasive and stately, sermonic and impartial, plot-heavy and meandering, often within seconds of each other.
  19. The Prey
    The Prey doesn't have the obsessive pull of a great thriller, as it's undeniably an impersonal toy, but it's a hell of a toy.
  20. Just a Sigh
    When Jérôme Bonnell allows his two magnificent leads to work at the sparse dialogue, he invokes a powerful, elemental sense of frank, sexual discussion and high-end flirtation, imbuing the relationships with a maturity that's loathsomely rare in films today.
  21. Creative Control
    The film is overrun with characters, but it's less interested in their identity than their plasticity.
  22. Jojo Rabbit
    Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.
  23. Mother Mary
    The film is a boldly theatrical pop exorcism where the wounds of the past serve as a gateway to forces that can consume or lift the possessed to ecstatic new levels of self-expression.
  24. Lights Out
    Few horror films are as insistent about the trauma mental illness inflicts on families as Lights Out, and still fewer are so insensitive about it.
  25. The Deer King
    The Deer King leaves one with the impression that it hasn’t given itself enough room to truly soar.
  26. Sleepaway Camp
    Seriously, watching Angela (and to a lesser extent Ricky) being targeted throughout the film is like watching a group of shrill brats shooting rocks at a baby bird—if it wasn’t so obvious that everyone’s non-stop cruelty was in service of some big-reveal, or if the performances weren’t so damn preening, the film would be completely intolerable.
  27. The Misogynists
    Onur Tukel’s film doesn’t live up to the promise of this fleet-footed opening.
  28. Cry Macho
    The film achieves the nourishing simplicity of a fable, and its devotion to the quotidian elements of mythical small-town western life is nearly religious.
  29. Christy
    Christy lulls us into complacency by deviating little from the standard inspirational sports-movie playbook.
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