Slant Magazine's Scores

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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
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  1. Wildcat
    By shooting the fiction sequences with the same dreamy fish-eye unreality as the scenes showing O’Connor’s real life, the film blurs the line between the two until it’s almost nonexistent.
  2. The LEGO Ninjago Movie
    The film’s cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.
  3. The First Time
    Sex and love are both novel experiences for two high schoolers in this talky affair that suggests a hybrid of Before Sunset and Some Kind of Wonderful.
  4. The Prom
    Ryan Murphy’s vibrant film adaptation makes a closer-to-seamless whole of the story’s disparate parts.
  5. The Lion King
    There’s something very cheap at the core of this overtly, ostentatiously expensive film, reliant as it is on our memory of the original to accentuate every significant moment.
  6. Frankie
    Only Marisa Tomei’s face can compete with Isabelle Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.
  7. Tusk
    It suggests the worst possible gene splice of a barbed Terrance and Phillip South Park appearance, Fargo's blithe condescension, and the smuggest of Quentin Tarantino pastiches.
    • 55 Metascore
    • 38 Critic Score
    Wild Horse, Wild Ride
    If this sounds like the premise of one of those tiresome Discovery Channel docu-tainments, it's because it essentially is, only heavily abbreviated to fit the feature-film format.
  9. The Decent One
    The Decent One operates under a discursive premise so presumptuous and flimsy that its attempted function as an experiential documentary proffers little more than a book-on-tape-on-film.
  10. Hard Labor
    The allegorical possibilities of a disintegrating wall point to a film that could have been.
  11. Dreamland
    The sense of a film school student doing movie karaoke with his influences is evident throughout Dreamland.
  12. Godard Mon Amour
    Michel Hazanavicius co-opts Jean-Luc Godard's personal life for cheap prestige-picture sentiment.
  13. Liberal Arts
    Liberal Arts provides a peek into what makes Josh Radnor tick, and what he cares about outside his mainstream-targeted sitcom.
  14. The Good Liar
    An airport novel of a movie, Bill Condon’s The Good Liar is efficient and consumable, if a bit hollow.
  15. Hours
    The film's fealty to history is both unnecessary and a hindrance, pulling us out of a story that could have easily been set in an anonymous city hit by a nondescript hurricane.
  16. Everyday
    While the film charts its protagonist's gradual progression toward a renewed sense of agency and freedom, it rarely indulges in lengthy or even linear narrative arcs.
  17. 5 Flights Up
    Ira Sachs, for all the tenderness of feeling he brought to Love Is Strange, wouldn't have countenanced the stacked-deck sentimentality that lies at this film's heart.
  18. Anesthesia
    Tim Blake Nelson's film immerses itself into as many pain-induced (and painful) subplots as it possibly can.
  19. Song to Song
    The film is about floating along on currents of uncertain desire and excitement, overthinking your own indulgence in these whims, and then sometime later on down the road, through no clear constellation of reasons, recognizing that a real human connection was squandered in the haze of all that self-exploration.
  20. Mayhem!
    Whenever Mayhem! makes any attempt at character building, it feels as if we’re watching a trashy DTV movie, and as a result reveals itself as a run-of-the-mill revenge flick that practically crawls toward its preordained destination.
  21. The Eyes of Tammy Faye
    The Eyes of Tammy Faye mostly plays out as a showcase for Jessica Chastain to bring as much emotional sturm und drang to the woman as she lurches between various states of turmoil.
  22. Bardo, False Chronicle of a Handful of Truths
    The film signals that Alejandro G. Iñárritu, perhaps, is unable to push the limits of his own artistic expression.
    • 55 Metascore
    • 25 Critic Score
    The Institute
    A lazily constructed documentary that doesn't hide first-time director Spencer McCall's admitted lack of understanding for his subject.
  24. The D Train
    The film uses its male-on-male boundary-leaping to give the shopworn man-boy narrative a refresh.
  25. Old Goats
    Taylor Guterson's film offers thoughtful, if familiar, comments on friendship, self-doubt, and romantic angst.
  26. The Dolls
    Dolls is still ultimately minor-key Gordon, exhibiting nowhere near the level of ambition or invention of many of his hot-house splatter classics, but it has been rendered with an artisanal level of craftsmanship that distinguishes it as an almost-hidden horror gem, ready for rediscovery.
  27. Kindred
    It’s difficult to shake that the film finishes saying what it has to say long before it staggers to the end.
  28. Ichi the Killer
    Unhinged even for Takashi Miike, Ichi the Killer suggests a bloody and ejaculate-stained Rorschach inkblot, reveling in ultraviolence that can be interpreted to flatter any adventurous audience's sensibilities.
  29. The Adam Project
    Ultimately, the film tries so hard to do so much that it doesn’t end up doing any of it particularly well.
    • 55 Metascore
    • 100 Critic Score
    They Live
    It’s an effective ploy, forcing us to confront certain basic facts about the state of the world around us without sounding preachy, and it articulates a decidedly working-class anger in response to social iniquity without sounding self-righteous. And it does all of this while retaining the surface appeal of its B-movie origins, frequently (and entertainingly) indulging in the seductive spectacle of ghouls and guns in combat—though always with ulterior motives.
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