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 Hummingbird Project
    Throughout, the film can’t decide what attitude to strike toward its characters’ evident greed.
  2. The Tree
    This is one film that's overly reliant on a dubious central symbol, schematically employed.
  3. The Seagull
    The film is content to present Anton Chekhov's ideas rather than grapple with their provocative and complex subtexts.
  4. The Night Before
    It aims to foster a spirit of giddy anarchy in order to tie a ribbon around its shambolic script and rickety pacing.
  5. Hotel Artemis
    Hotel Artemis quickly reveals its future setting as an empty pretext for a banally convoluted and sentimentalized show of emotional rehabilitation.
  6. Our Man in Tehran
    Never is there an Iranian perspective on the proceedings, giving the documentary the jingoistic bent its title implies.
  7. Blue Bayou
    The film’s evocative imagery doesn’t compensate for the story being told with such a heavy hand that it dulls, rather than sharpens, Justin Chon’s urgent political message.
  8. Fading Gigolo
    The question of why one should actually work up any emotional investment in what happens to these people is never really answered, much less asked in the first place.
  9. Escape from Tomorrow
    The film is just a stunt or, more specifically, a calling card, but that might be enough for anyone who's ever wanted to kick Mickey Mouse square in his padded, pious balls.
  10. The Greasy Strangler
    It aims for John Waters-style transgression without evincing half of Waters’s wit and affection for eccentric lifestyles.
  11. Gemma Bovery
    The film dabbles in the French romantic-comedy tradition and simultaneously spoofs it, committing to neither.
  12. The One and Only Ivan
    The charitable representation of Bryan Cranston’s character greatly diminishes the emotional resonance of the film’s dramatic turns in the final act.
  13. We Bought a Zoo
    Far more concerned with pratfalling animal shenanigans and unearned uplift than crafting a single complex or amusing moment, it's a film caged in by formulaic plotting and plentiful pap.
    • 58 Metascore
    • 50 Critic Score
    No Place on Earth
    A remarkable story made almost unremarkable in the hands of lazy filmmaking.
    • 58 Metascore
    • 38 Critic Score
    Monday
    Ultimately, the film is unable to overcome the mundanity of its simple, overly familiar scenario.
  16. Low Down
    There's only so much that Fanning's vividly expressive face and Hawkes's charismatic sensitivity can mask before we realize how little we truly understand what goes on in anybody's head.
  17. Les Coquillettes
    It's hard to ignore the fact that a substantial percentage of Letourneur's would-be character study is dedicated to concentrated Schadenfreude that's unbalanced and without any real narrative weight.
  18. Let's Scare Jessica to Death
    Great auntie to waking nightmare movies about distaff insanity as diverse as Images, 3 Women, A Woman Under the Influence, and Mulholland Drive, Let’s Scare Jessica to Death spends 90 minutes tapping lightly but incessantly on its heroine’s fragile sanity, as though it were some sort of Fabergé S&M model egg.
  19. Indiana Jones and the Dial of Destiny
    The only past that Dial of Destiny is interested in plundering is the glory of its predecessors.
  20. Wicked: For Good
    The film is stretched out, breathless, and never really emotionally affecting, even on the level of nostalgia.
  21. Elemental
    Elemental does a whole lot of huffing and puffing but, at its core, feels no more grounded than a gentle wisp of air.
  22. Death Race 2000
    Death Race is a maladroit but exuberantly gamey mix of social commentary and blue-collar goofiness.
  23. 7500
    Convenient plot twists undermine its early pretense that it’s aiming for something other than to exploit our deepest, most regressive fears.
  24. The Lords of Salem
    Rob Zombie understands horror as an aural-visual experience that should gnaw at the nerves, seep into the subconscious, and beget unshakeable nightmares.
  25. There There
    The artifice of There There certainly generates an added layer of frisson that might not have been there were the film shot under more conventional circumstances. But the root material has enough rich humanity and taut conflict to it that the result would have succeeded regardless.
    • 57 Metascore
    • 50 Critic Score
    It's a Disaster
    The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters' existential or psychological crises.
  27. The Patsy
    The Patsy reflects a genuine affection for the artisans and jacks-of-all-trades that make careers like his possible.
    • 57 Metascore
    • 50 Critic Score
    Eddie: The Sleepwalking Cannibal
    Because the film clearly aims for satire, Boris Rodriguez isn't entirely guilty of indulging gruesome spectacle for its own sake.
  29. Terraferma
    Its self-seriousness never allows it to become the realist counterpoint to Aki Kaurismäki's tragicomic approach in Le Havre that one initially hopes it will be.
  30. Trishna
    Class privilege and sexual politics are inextricably linked in Trishna, Michael Winterbottom's blunt, self-consciously brutal, and rather loose updating of Thomas Hardy's "Tess of the D'Urbervilles."
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