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. My Psychedelic Love Story
    In Morris’s best films, such as The B-Side: Elsa Dorfman’s Portrait Photography, there’s a sense that the director is truly simpatico with his subjects. In My Psychedelic Love Story, though, Morris lets a fading never-quite-legend blather her way into a trap.
  2. Cherry
    Though the film touches on numerous hot-button topics and is packed with incident and humor, its self-aware style—from straight-to-camera narration to slow motion to visual tricks like the washing out of an entire background so a character will pop out in bright color—and simplistic characterizations deprive it of the chance to say much of anything.
  3. Embattled
    The film muddies its sense of moral righteousness by suggesting that violence and vengeance can only be defeated by more of the same.
  4. Earwig and the Witch
    The problem with Earwig and the Witch has more to do with its confused plotting than its more or less serviceable animation.
  5. Scream
    It’s at a certain point toward the finale that this Scream becomes almost as drearily repetitious as the reboot culture that it skewers.
  6. Some Kind of Heaven
    The film is most tragic and humorous when hints of the outside world break through the suffocatingly cheerful façade of the Villages.
  7. The Little Things
    John Lee Hancock’s The Little Things blends two modes of the serial killer film, both of which have been shepherded by David Fincher.
  8. Reminiscence
    Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
  9. Young Man with a Horn
    The non-musical performances are shallow: Douglas is forceful but one-note, Day is as square and wholesome as a glass of milk, and Bacall purrs along in the same faux-bad girl performance she’s given for the past 60 years. But I suppose that’s fitting for a morality play this black and white, where wild jazz, liquor, and loose women cause the downfall of man.
  10. PG: Psycho Goreman
    This tongue-in-cheek gorefest gives the impression of an only semi-coherent joke on the audience.
  11. The Mauritanian
    Kevin Macdonald’s film never captures the spectrum of a life lived in unimaginable extremis.
  12. Palmer
    After a while, the film’s parade of contrivances subsumes the acutely observed friendship at its core.
  13. Land
    The film’s overtly non-specific title is surely meant to suggest some kind of pared-down elementality, but, in the end, it mostly just reflects the story’s lack of definable character.
  14. The Color Purple
    The film knows the words and tunes but, with rare exception, lacks the passion and the perspective to make them truly resonate.
  15. Harley Davidson and the Marlboro Man
    Harley Davidson and the Marlboro Man is one passable joke stretched out over 98 minutes with nothing in the way of a real movie to support it.
  16. Bloody Hell
    The film’s manic blend of gore and relentlessly cheeky comedy eventually leads to diminished returns.
  17. Hunted
    Hunted intends to make a show of our desensitization to predator-prey relationships, but the greater purpose of its self-awareness never quite comes into clear focus.
  18. Don't Look Up
    Like Vice before it, the film too often uses satire as a tool of castigation rather than as a means of truly attacking the status quo.
  19. Nightmare Alley
    Guillermo del Toro's remake of Nightmare Alley is less a living and breathing movie than a fossilized riff on the idea of a movie, particularly the American noir.
  20. The Dry
    The particulars of the central mystery are mundane, to the point where the film itself doesn’t spend too much time digging into them.
  21. CODA
    The film is at its most moving in those rare moments when it’s capturing the nourishing bonding ritual among a deaf family.
  22. Censor
    Censor unfortunately pulls back from its social interrogation just when it’s working up a head of steam.
  23. Keep an Eye Out
    Quentin Dupieux imbues a trite genre scenario with a Kafkaesque brand of comic existentialism.
  24. Arizona Dream
    Recalling the ‘70s shaggy-dog stories of Makavejev, Ashby, and Schatzberg, Kusturica’s French-financed American venture deserved better than the neglect it suffered in the blockbuster age.
  25. Language Lessons
    Had the film trusted its self-imposed minimalism a little more, it might have been a lot more successful as a character study.
  26. Held
    The film doesn’t quite cut to the heart of the socially nurtured fantasies that splinter men from women.
  27. Ted K
    Tony Stone’s avoidance of emotional manipulation in dramatizing Ted Kaczynski’s terror campaign is admirable, but only up to a point.
  28. Six Minutes to Midnight
    Andy Goddard’s film clumsily superimposes a frenzied, completely fictional spy adventure onto a fascinating fragment of pre-war history.
  29. Jakob's Wife
    Travis Stevens’s film is psychologically astute, until it gives itself over to turning subtext into extremely legible text.
  30. Resident Evil: Welcome to Raccoon City
    Johannes Roberts’s prequel ultimately remains buried by its indifference to unchecked corporate power.
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