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. The Forgiven
    Whatever satire of white elite society is intended by The Forgiven has been blunted by monotony.
  2. Dashcam
    Dashcam is nothing if not consistent, as it’s every bit the empty provocation as the troll at its center.
  3. The Girl and the Spider
    Zürcher spins byzantine webs of audiovisual stimuli from an ultimately modest dramatic core, and not only is the larger narrative design unclear before it’s finally revealed, it’s easy to get stuck dwelling on the minutia along the way.
  4. The Black Phone
    Scott Derrickson and C. Robert Cargill are adept enough at setting up rich, evocative horror concepts, but they don’t always know what to do with them once they’re in place.
  5. Being the Ricardos
    Like all Aaron Sorkin-penned characters, this film’s version of Lucille Ball is a mouthpiece for his brand of smarmy, know-it-all sarcasm.
  6. The Phantom of the Open
    The film loses its satiric edge as it begins to melodramatically detail how Maurice Flitcroft inherited the mantle of folk hero.
  7. Lightyear
    The film is a slickly produced but soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.
  8. The Bad Guys
    The Bad Guys is a heist film that steals all of its moves.
  9. The Lost City
    The Lost City is proof that star power and chemistry can only take a film with a mediocre script so far.
  10. Blue Beetle
    Blue Beetle plays out with all the revelry of a contractual obligation, hitting every note of the hero’s journey with no variation, murky action sequences, and little in the way of imagination, despite the titular object itself granting Jaime the ability to manifest anything that he imagines.
  11. The Pink Cloud
    After a while, writer-director Iuli Gerbase’s boldly mundane take on forced isolation gives way to a regular sort of mundanity.
  12. Last Looks
    Throughout Last Looks, the filmmakers tend to a conventional mystery that could have benefited from more satiric intention.
  13. Call Jane
    The film consistently fails to underline the risks and pressures faced by the women in an underground abortionist network in Chicago in the late ‘60s.
  14. Thirteen Lives
    Avoiding excessively heightened melodrama, Thirteen Lives doesn’t substitute it with much that one couldn’t already find in the copious amount of available coverage of the real-life incident.
  15. Honk for Jesus. Save Your Soul.
    After a while, you want to know what line of inquiry the film is pursuing—what greater paths it’s wandered to.
  16. Studio 666
    The film’s funny and shocking gore too often plays second fiddle to meandering comedic bits revolving around the band’s recording sessions.
  17. Windfall
    Windfall has a difficult time landing on the right tone or getting a bead on its characters.
  18. Men
    Men is ultimately about as deep as its title, a swipe at the multi-faceted terribleness of its titular subject that rarely gets beyond being a mere catalogue of the different ways that guys can be irritating around and dangerous toward women.
  19. Incredible But True
    Quentin Dupieux’s latest endlessly draws out every stilted interaction for maximum deadpan effect.
  20. Leonora addio
    Leonora Addio is a wrestling with memory and history through a deeply personal, if at times indulgent, lens.
  21. The Burning Sea
    The film drops any interest in the blurring of fact and fiction as it settles into a rote account of a contemporary oil rig catastrophe.
  22. Ultrasound
    Ultrasound never quite figures out how to keep going once its mysteries have been unraveled.
  23. Infinite Storm
    Not only does Infinite Storm lack for a complete vision, it’s all too comfortable in settling for mawkishness.
  24. The Innocents
    The Innocents adopts a slasher-esque vibe that, however airlessly aestheticized, feels lurid for the sake of being lurid.
  25. Offseason
    Keating’s film forgets the cardinal rule of good pastiche: that if you’re not building something new from familiar pieces then you’re just regurgitating old ideas.
  26. Not Okay
    Not Okay doesn’t make any points that, now over a decade into the ubiquity of social media, aren’t painfully obvious.
  27. Deadstream
    The film doesn’t quite live up to its promising premise and handful of clever camera gimmicks.
  28. Spin Me Round
    Cleansed of all risk and personality, Spin Me Round subsides, as though with a sigh, into the reheated sauce of mediocrity.
  29. Ticket to Paradise
    George Clooney’s and Julia Roberts’s undimmed charisma brings enough grace notes to Ticket to Paradise that you could easily be taken in by its low-stakes frivolity.
  30. The Menu
    For as potent as the film’s shocks can be in the moment, it’s difficult to shake off that the screenplay lacks for the breadth of variety that’s necessary to make more than just a restaurant’s tasting menu take flight.
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