Slant Magazine's Scores

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For 7,789 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: 4,359 out of 7789
  2. Mixed: 1,496 out of 7789
  3. Negative: 1,934 out of 7789
7789 movie reviews
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  1. Galveston
    The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
  2. Midway
    In the film, the Battle of Midway suggests something out of a photorealistic animated film.
  3. MFKZ
    The bulk of MFKZ is composed of chases and shoot-outs that, despite their chaotic energy, drive the plot forward at a plodding pace.
  4. American Dharma
    The film feels rather like listening to the arsonist calmly explain why he set the fire as we continue to watch it rage.
  5. Charlie Says
    The film appears to be striving for humanistic understanding, but the end result is far too jumbled to have the proper impact.
    • 55 Metascore
    • 50 Critic Score
    Torn Curtain
    Torn Curtain, which was a commercial success because of the drawing power of its stars, is an artistic flop.
  7. J.T. Leroy
    It’s disappointing that so much of the film feels like mere tilling of the soil.
  8. Teen Spirit
    In the end, the film is all too ready to transform into just another shiny pop object indistinguishable from so many others before it.
  9. Breathless
    Much like Body Heat, which valorized noirish archetypes instead of examining their original social contexts, Breathless simply has a hard-on for Hollywood lore, as convertibles, rockabilly, and monochromatic lighting are utilized to enshrine dominant legacies rather than invert or, at least, probe them.
  10. Critters
    Slap together a modestly budgeted horror film with an unmistakable resemblance to a recent hit film (Gremlins) and a notable inversion of another popular film’s ending (Poltergeist), insert just enough Podunk camp to ensure Joe Bob Briggs would catch its scent and you’ll guarantee yourself the birth of a franchise.
  11. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Birds of Prey feels at times less like its own story and more like a trailer for what’s coming next.
  12. Becoming Astrid
    Despite convincing performances, the film is hampered by its stylistic and moral conventionality.
    • 25 Metascore
    • 50 Critic Score
    The Hills Have Eyes Part II
    Wes Craven’s The Hills Have Eyes Part 2 is a bland, bloodless shambles. Sequel-making of the laziest sort, it’s nothing more than a perfunctory, undisguised cash-grab.
  14. Vice
    Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
  15. Heavy Trip
    Its story distances heavy metal from any whiff of toxic masculinity by setting Turo and company against homophobes and rakes.
  16. Hellbound: Hellraiser II
    The sequel’s cure proves infinitely bloodier than the original’s disease, and its over-the-top depictions of brimstone and flesh are so loopy and unmoored, you’d swear the place where nobody dared to go suddenly became Xanadu.
  17. A Faithful Man
    It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.
  18. The Invisibles
    The film doesn’t bring to light otherwise unexplored aspects of the experience or memory of persecution and genocide.
  19. The Christmas Chronicles
    The film Despite its weird flourishes, the film succumbs to the tropes and emotional contrivances of the family melodrama at its core.
  20. Saludos Amigos
    Saludos Amigos and its sequel (or, more accurately, expansion), The Three Caballeros, had a shelf life significantly shorter than that of your standard MRE. Together, they kicked off nearly a decade’s worth of anthology-based wastes of time and resources that all but derailed Disney’s manifest destiny to rewrite children’s dreams in the corporation’s own latently art deco, actively anti-twat image until Cinderella put the needle back on the record.
    • 73 Metascore
    • 50 Critic Score
    The Great Mouse Detective
    Mouse Detective, though, just tries to get by with nothing more than the novelty of having rodents play detective, and then pulls the rug out from under it by showing, however briefly, the human Holmes and Watson.
  22. Isn't It Romantic
    As the film becomes increasingly reliant on predictable narrative tropes, it evolves into the very thing it set out to parody.
  23. Weightless
    The title Weightless is an apt description for this stylish but emotionally inert film.
  24. Peter Pan
    Peter Pan, in retrospect, seems much more a footnote among the studio’s 1950s output.
  25. Lady and the Tramp
    Befitting its middle-ish chronological position, it’s not surprising that the serviceably cute but mundane Lady—a turn-of-the-century ditty about two love struck dogs from opposite sides of the gated community—might be the most ignorable, least assertive production of their golden era.
  26. Cinderella
    Despite its prodigious charms, it has probably destroyed more lives than any other Disney film, forcing a specific, unrealistic romantic archetype that truly does only exist in fairy tales onto generations of impressionable children, who would grow up desperate, needy, and crushed.
  27. Silent Night, Deadly Night
    Silent Night, Deadly Night brought the idea to new levels of cold sleaziness.
    • 75 Metascore
    • 50 Critic Score
    Ruben Brandt, Collector
    The film doesn’t apply the necessary touch and precision to balance its sleek, chromed parts into a revving whole.
  29. Dumplin'
    As it proceeds through a series of teary reconciliations in the last half-hour of its 110-minute run time, the film's didactic drama begins to grate, its treacly emotions feeling increasingly unearned.
  30. The Kitchen
    The Kitchen’s inability to criticize its characters without falling back on mild endorsement for their warped empowerment cheapens the film’s moments of reflection, turning them into perfunctory scenes of mild protest.
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