Slant Magazine's Scores

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For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. A Girl Missing
    Kôji Fukada adores stray textures that stick in the proverbial throat and free-associatively affirm his characters’ rootlessness.
  2. Exodus: Gods and Kings
    It doesn't take long to realize that Ridley Scott's adaptation is only aiming for certain forms of credibility, and callously eschewing others.
  3. Heleno
    The film hints at a kicky, impressionistic style that director José Henrique Fonseca never effectively employs to actually communicate Heleno de Freitas's demons.
  4. The Contractor
    The film’s rote action-movie plotting is calibrated in a ponderously straight-faced way so as to give it some semblance of gravity.
  5. The Devil's Double
    The film's first act is wholly concerned with the juxtaposition of physical similarities and ideological opposites, and Tamahori spends entire sequences upending the balance between the two.
  6. Fantastic Beasts: The Crimes of Grindelwald
    The Crimes of Grindelwald gets more comedic and emotional mileage out of Newt’s interactions with his various creatures, particularly the adorable platypus-like one with a nose for gold, than most of its human-centered scenes.
  7. The Twilight Saga: Breaking Dawn - Part 2
    Characters are better employed; emotions are, for once, palpable; and the selfishness of Bella, author Stephenie Meyer's avatar, is finally somewhat squelched.
  8. Ragnarok
    In the end, any and all potential B-movie fun is extinguished by Ragnarok's depressingly listless anonymity.
  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. National Champions
    As a peek into the relationship between sports, media and capitalism, National Champions feels like a beginner’s playbook.
  11. We Are the Giant
    It ironically reveals its intent to suture shut any remote ambivalence regarding its own gung-ho ethos, in effect engaging the same sort of oppressively dogmatic tactics it so outwardly denigrates.
  12. Waiting for the Barbarians
    Ciro Guerra never quite finds an imagistic equivalent to the novel’s apocalyptic mood and subtly hallucinogenic atmosphere.
  13. 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.
  14. A Working Man
    David Ayer’s film proceeds as an unambiguous celebration of its hero’s vigilantism.
  15. The Spy Who Dumped Me
    There's an appealingly shaggy buddy comedy hidden somewhere inside of The Spy Who Dumped Me, but good luck finding it amid all the desperate poop jokes, lifeless action sequences, and lazy plot mechanics.
  16. Nicky's Family
    This is a powerful chapter in our human history, but it's made melodramatic and dull through Matej Minac's indulgence of hokey reenactments and sound-augmented archival footage.
    • 52 Metascore
    • 38 Critic Score
    A Horrible Way to Die
    The adventitious use of loud and strange blasts of music may theoretically make sense to heighten the film's creepiness, but here, like everything else, they don't exactly make a perfect fit and serve more as the final nail in the coffin for the film's lack of tonal cohesion.
    • 52 Metascore
    • 75 Critic Score
    The Tall Man
    Illustrates the problem of class mobility with a dark, troubling premise that holds a harsh light up to our own assumptions and expectations.
  19. Tai Chi Zero
    Essentially a live-action anime, it sweats rivulets of Tarantino-era digital anxiety from all pores--every kick, punch, pan, and zoom exaggerated for maximum impact.
  20. A Fierce Green Fire
    The director avoids all manner of stylistics, opting instead for the formulaic doc trifecta of first-person interviews, archival material, and news footage.
  21. Ping Pong Summer
    A heartfelt retro flashback littered with pop-culture iconography and much slang, it focuses on the importance of friendship and loyalty rather than social standing.
  22. The Young Kieslowski
    Another effort to explain how difficult it is to be a young, white, smart, non-disfigured, upper-middle-class male.
  23. Jamaica Inn
    Alfred Hitchcock’s Jamaica Inn would have been better titled The Gangs of Jamaica Inn, since the film is thoroughly concerned with groupings, allegiances, and the ways class standing relates to moral obligation.
  24. Every Day
    Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them, probably because addressing them could too quickly shut down the romance.
  25. Casa de mi Padre
    You know a film isn't going to be considered high art when the guy to your left at the press screening is a reporter from Extra and the guy to your right lets out a loud "That's awesome, man" after each scene.
  26. 300
    Snyder attaches no larger significance to his arresting visuals. He’s only intent on eliciting “Whoa, dude!” reactions, of which there are fewer and fewer once it becomes clear that there’s nothing sustaining the centerpiece razzle-dazzle sequences except awful dialogue and no-dimensional characters.
    • 52 Metascore
    • 38 Critic Score
    Life of a King
    Any potential flights of invention or creativity are subordinate to the plain and emphatic delivery of life lessons.
  28. Miss Lovely
    The women of the film certainly deserve better, as they're often relegated to the role of victim, harmed or murdered simply to propel the plot along.
  29. Carrie Pilby
    The film is essentially an exercise in forcing a female genius back into her proper place of dependence on both the father figure and the Prince Charming.
  30. X-Men: Apocalypse
    The issue with X-Men: Apocalypse is that Bryan Singer suggests so many possible directions to go in and still chooses the least interesting one.
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