Slant Magazine's Scores

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For 7,792 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 6.2 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: 4,362 out of 7792
  2. Mixed: 1,496 out of 7792
  3. Negative: 1,934 out of 7792
7792 movie reviews
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  1. Cut Bank
    If the film is meant only as a pulpy genre exercise, Matt Shakman's competence in various modes actually works to strip it of any sense of coherent vision.
  2. Victoria
    One can chart the very moment that Victoria's existence slips out of the routine into the nightmarish, and there's no escape by temporal omission.
  3. Spring
    It bridges the cautionary elements of a horror film with the wish-fulfilling platitudes of a touristy romance.
  4. Snowden
    The film depicts Edward Snowden's ethical dilemmas in a political vacuum that disregards America's increasingly complex security threats.
  5. Young Bodies Heal Quickly
    Its lack of dramatic specificity places it in a precarious middle ground between exacting character study and ethereal parable.
  6. Futuro Beach
    It masks depleted drama under a progression of long takes, various music cues, and a three-chapter structure that grows successively tedious.
  7. Champs
    An unfocused mishmash that thrives only when it fixates on footage of actual bouts.
  8. Bluebird
    Unable to reconcile plot with poetry, Bluebird is knitted-together by its sense of place and lived-in performances, yet unraveled by anemic false melodrama and overbearing music.
  9. The Mafia Only Kills in Summer
    Individual politicians, detectives, and mafiosi come and go so quickly that the audience doesn't have enough time to become emotionally invested in their lives and deaths.
  10. Cupcakes
    Eytan Fox opts for a thoroughly hollow rumination on pop-culture mechanics as they pertain to young, aspiring professionals.
  11. Marfa Girl
    The film finds the actors' performance deficiencies functioning less as signs of authentic teenage behavior than as an incompetent carrier of plot.
  12. Free State of Jones
    After its bracing opening, the film begins to indulge the worst impulses of well-meaning liberal cinema.
  13. Trumbo
    Like Jay Roach's Game Change and Recount, the film's patina of relative apoliticism masks (or enables) its blandness of inquiry.
  14. Tangerines
    For all of the potential, historically specific revelations regarding nation and religion, Tangerines elects to become bathetic hokum.
  15. Central Intelligence
    It's a pity that no one else involved in the making of the film had Dwayne Johnson's sly intuition.
  16. Man Up
    Lake Bell and Simon Pegg's star wattage isn't enough to distract from the sense that their characters are almost exclusively defined by their single-ness.
  17. 52 Tuesdays
    Sophie Hyde barely elaborates on the toll James's transition takes on him and only superficially as it affects Billie's psyche.
  18. Eddie the Eagle
    It remains more committed to printing the uplifting legend of its title character than in actually examining the human beings underneath.
  19. Félix And Meira
    Maxime Giroux's sharp filmmaking instincts aren't always supported by similarly acute dramatic instincts.
  20. Electric Slide
    Like the characters, the film's exterior flash can't conceal a glaring emptiness.
  21. Pride and Prejudice and Zombies
    The juxtaposition of courtship and violence is the film's one true coup, but Pride and Prejudice and Zombies still mistakes weaponry for agency.
  22. Krisha
    It rams home the main character's relentless downward spiral though an incessant parade of grandstanding stylistic flourishes.
  23. Live From New York!
    Formally, it relies on a bevy of spectacularly funny clips and a plethora of talking heads, most of which fall back on plaudits rather than sage insights.
  24. Closer to the Moon
    Writer-director Nae Caranfil oddly forgoes the abundant elegiac aspects of his film's factual material for a tone approaching the ebullient.
  25. Hello, My Name Is Doris
    Michael Showalter is content to trade They Came Together's mischievous genre deconstructionism for cheap-shot indie quirk.
  26. Steve Jobs: Man in the Machine
    A work of arduous assemblage that values information over affect and zip over conviction in its ramshackle historicizing of Apple CEO Steve Jobs.
  27. 10,000 km
    It ends up feeling like an unsatisfying cautionary tale on how much detachment is too much detachment.
  28. Batkid Begins
    Any hope of meaningful reflection or insight is doused by a steady drip of often redundant and banal observations.
  29. The Little Death
    It's perched uneasily on a fence separating a rote comic sketch film from something weirder, stranger, and less engaged with offering reassuring domestic homilies.
  30. The Adderall Diaries
    It's too busy skipping through subplots to do much more than gloss over such heady issues as the fundamental subjectivity of truth and self-identity.
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