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. Toast
    Joan aside, the film goes down easy enough.
  2. Cirkus Columbia
    Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
  3. Cold Pursuit
    It’s the way the film’s humor specifically subverts its genre’s expected emotional valences that makes it so effective.
  4. The House with a Clock in Its Walls
    The final act of The House with a Clock in Its Walls stumbles between awkward, telegraphed jolts and busy, effects-heavy action, completely losing sight of the trauma and grief that was meant to give the film its emotional core.
  5. Generation War
    The perverse thrill of seeing less-than-popular considerations of Nazism on screen fades hurriedly to the old ache of seeing any kind of questions about Nazism answered noxiously.
  6. Robin Hood
    If Robin Hood’s charmingly sh**ty animation comes damn close to redeeming the film from utter vapidity, it’s a damn shame they couldn’t manage to supply a villain with the balls of an Ursula, a Cruella, or a Maleficent.
  7. Dog Pound
    The plot willfully denies our satisfaction, often at the risk of compromising its own structural integrity.
  8. Shut Up Little Man! An Audio Misadventure
    Shut Up Little Man! fails to legitimize its topic as one of any significance.
  9. The Wall
    The Wall packs a surprisingly savage punch by boiling the exploits of battle down to its essential elements.
  10. Charlie Says
    The film appears to be striving for humanistic understanding, but the end result is far too jumbled to have the proper impact.
    • 57 Metascore
    • 50 Critic Score
    Tornado
    Tornado’s winking theatricality, thematic fixations with myth and avarice, and pared-down plotting add up to a heady concoction, but it’s more conducive to reflection than engagement.
  12. Snow White and the Huntsman
    As feminist fantasy, the film is non-committal, and as a reimagining of the fairy tale, it's at best expensive-looking without seeming wantonly so.
  13. Greetings from Tim Buckley
    Despite the counter-culture subjects at its core, Daniel Algrant's film possesses a put-upon hipness that cannot mask its disarming dorkiness.
  14. Finch
    The end of the world may never have had less impact than it does in Miguel Sapochnik’s Finch.
  15. 1,000 Times Good Night
    It's difficult to swallow the premise of yet another tale of a heroic white Westerner with good intentions trying to give hope to Middle-Eastern misery.
  16. How It Ends
    The film is so economical in its momentum, and its tone of comic wistfulness so uniform, that its string of tableaux rarely feels jerky.
  17. The Quiet One
    In the end, the film feels like a sketch that’s been offered in place of a portrait.
  18. Brighton Rock
    Brighton Rock never brings its baby-faced hood antihero, the scarfaced Pinkie Brown (Sam Riley, pouting and hunched in the late-DiCaprio manner), into a semblance of human plausibility.
  19. The Dinner
    The film is shrilly, luridly, dully, and unremittingly ugly, preaching to a choir that it also demonizes.
  20. The Quiet Ones
    The Quiet Ones is a reminder of the simple pleasures of a caper film with ice in its veins.
  21. A Walk Among the Tombstones
    All of Scott Frank's thematic concerns are little more than window dressing for a run-of-the-mill detective story in line with '90s thrillers like The Bone Collector.
  22. Three Peaks
    The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.
  23. Wrath of Man
    Cacophony eventually takes over Wrath of Man, stranding the actors in the process. Except, that is, for Jason Statham, who’s by now a master of presiding over Guy Ritchie’s gleeful chaos.
  24. The Mountain
    Thomas Salvador frustratingly never offers a concrete sense of what his character feels that he’s lost, and so we’re tasked with loading meaning onto the character’s journey of apparent self-reclamation.
  25. The Ritual
    Eventually, the filmmakers reveal the secrets they'd previously withheld, spoiling the film's sustained mystique.
  26. Horrible Bosses
    As its titular tyrants, Spacey, Aniston, and Farrell all revel in their over-the-top noxiousness, though the latter is mysteriously given short shrift even though his performance is far and way the most novel and gonzo.
  27. True Adolescents
    Glomming conceits and situations from a vast range of similarly themed films, it ambles along in a lethargic, good-natured manner, fitfully amusing but never approaching substantial.
  28. Mama
    The premise isn't even worthy of executive producer Guillermo del Toro, who will apparently lend his name to any film as long as it fulfills its quota of moths and vulvic openings.
  29. The Company You Keep
    A would-be thriller masquerading a long, dry monument to the reliability and comfort of community, blindly cocooned by its own nostalgic self-regard.
  30. Cujo
    To be blunt, because there was just barely enough material in the source text to pad out the film, the filmmakers also used a lot of the stuff that worked in novel form but came off as stultifying on the screen.
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