Slant Magazine's Scores

Select another publication »
For 7,778 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: 4,352 out of 7778
  2. Mixed: 1,493 out of 7778
  3. Negative: 1,933 out of 7778
7778 movie reviews
view
per page
  1. Little Accidents
    A movingly authentic exploration of a working-class milieu and the psychological and economic trauma that ripples through a town in the wake of a tragic accident.
  2. Decoding Annie Parker
    This isn't a film of bedside conversions or radical emotional transformations, nor is it a story about laughing at one's own hardships as a coping mechanism.
  3. Storks
    Maybe it's not the worst thing in the world that Storks doesn't take many cues from Pixar's tear-jerking playbook.
  4. Don't Be Afraid of the Dark
    Does Katie Holmes's hubby get script-doctoring rights even on her own film projects? That would explain why Troy Nixey's inane Don't Be Afraid of the Dark, co-written and produced by Guillermo del Toro, at times suggests an anti-Rx PSA.
  5. Drive-Away Dolls
    In the classic queer punk tradition of Bruce LaBruce, John Waters, and Gregg Araki, Ethan Coen’s film knows when to pay homage and when to move to its own rhythm.
  6. Mosquito State
    The film hauntingly suggests that a man’s most rational move in a rigged society is to fade away into the ecosystem.
  7. The DUFF
    The film deposits its heroine and everyone in the audience looking toward her for image-maintaining guidance back at square one.
  8. Loro
    Like most of Paolo Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
  9. French Exit
    In French Exit’s best passages, sadness and curt, resonant comedy exist side by side unceremoniously.
  10. Wagner & Me
    Even when Wagner & Me seems uneven as an art historical study, it's fairly successful as a travelogue.
  11. Towheads
    There's but one sequence in the entire movie that offers even the slightest bit of filmmaking verve, and even this speaks to the project's essential myopia.
  12. Casa Grande
    The film uses its critique of white privilege as a means to woo the legitimizing gaze of international audiences.
  13. A Bride for Rip Van Winkle
    The film is an interminable saga full of soap-operatic plot twists involving quickly broken marriages, sexual assault, a secret porn career, terminal illness, and a quasi lesbian love affair.
  14. Hellraiser
    Barker’s vision cribs equally from the mythos of vampires and zombies, but Hellraiser‘s overriding ridiculousness (and nagging budgetary shortcomings) can’t disguise the fact that the movie is at least unwittingly a product of the AIDS crisis.
  15. Forbidden Fruits
    The film is a witchy mall comedy that mostly keeps you under its spell.
  16. I Only Rest in the Storm
    Whatever the post-colonial lessons are, I Only Rest in the Storm’s characters articulate them too evidently, as if preemptively justifying the making of a film in or about “Africa” on the condition that the white man’s presence is relentlessly denounced.
  17. The Man from U.N.C.L.E.
    Temperamentally, Guy Ritchie aligns more with the lithe, James Bond-like Solo: detached, above-it-all, eternally cool under pressure.
  18. Miss Julie
    The film is no tearjerker, but it makes the stage play's hidebound, soul-baring pleasures mesmerizing on screen, and without copping to reductivism.
  19. Minions
    It's a buzzkill to enter the world of Minions primed for a tidal wave of gibberish-talking lemmings to tear the roof off, only to see them once again led astray by the ordinariness of human affairs.
  20. Real Steel
    If familiarity is endemic to this feel-good drama, there's nonetheless also something to be said for competent amalgamation and regurgitation of tired genre tropes.
  21. War Machine
    Writer-director David Michôd's film renders existential crises of American entitlement dull and tedious.
  22. The Fence
    The late Bernard-Marie Koltès’s 1979 play isn’t opened up so much as clinically dissected by the film, with every character an enfeebled pawn in situations they’re at a loss to resolve.
  23. For No Good Reason
    Charlie Paul isn't content to let his stock footage and interviewees lead for him, driven as he is to "make something out of a frame of mind," though to needlessly busy effect.
  24. The Rum Diary
    The Rum Diary, Bruce Robinson's amorphous hodgepodge of a film, wants to be many things: period recreation, social commentary, morality play, romance, an insider look at the newspaper game.
  25. Take Me
    Schilling and Healy never quite overcome the fact that Take Me is a suspense comedy that simply isn't very suspenseful or very funny and, just as importantly, never finds a thematic through line.
  26. Frank & Lola
    The film occasionally benefits from the weird energy shared between Michael Shannon and Imogen Poots.
  27. Filth
    Ultimately, the film is too nihilistic to believe its protagonist can be saved, declaring him a lost soul and satisfied to let him suffer.
    • 56 Metascore
    • 75 Critic Score
    Rollerball
    Director Norman Jewison’s Rollerball remains a poignant and unusually prescient vision of our world as defined by Walmart and Exxon-Mobil.
  29. The Croods: A New Age
    The film is brightly colored, inventively designed, and constantly flirting with the outright psychedelic, but it's so packed full of incident that it rarely gives its jokes the space to land.
Page:

Top Trailers

See all »
See all trailers »