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. Love Life
    Because we’re tasked with inferring so much about the characters, especially their pasts, so much of the film’s romance is unconvincing.
  2. Elemental
    Elemental does a whole lot of huffing and puffing but, at its core, feels no more grounded than a gentle wisp of air.
  3. Snow White
    This is a fairly paint-by-numbers exercise in updating a quintessential but unquestionably quaint property for modern consumption.
  4. Missing
    Humor for the sake of humor is a worthwhile pursuit, but Missing’s final act is more unintentionally funny than intentionally funny.
  5. Magic Mike's Last Dance
    By never committing to neo-screwball antics nor a more serious analysis of codependency, the film ends up stranded in emotional ambiguity.
  6. My Father's Dragon
    The hot streak for Irish animation studio Cartoon Saloon cools with My Father’s Dragon.
  7. Medusa Deluxe
    Few, if any, single-shot movies ever justify the conceit. In fact, most of them do their material a disservice through the distraction that emerges naturally from the trickery.
  8. A Haunting in Venice
    In the end, any attempts that A Haunting in Venice makes at connecting post-war trauma to Halloween and the ability to commune with the dead are non-committal, and the script doesn’t do enough to communicate why any of that matters.
  9. Kingdom of the Planet of the Apes
    By the time the demands of big-budget spectacle take over in the final act, a film that initially stands out from the pack in imagining a different perspective of the world ends up looking all too disappointingly like everything else in the current mega-budget cinema landscape.
  10. Blind Willow, Sleeping Woman
    Some pleasingly odd visuals and a sustained off-kilter mood will likely please many animation fans who haven’t had any exposure to the source material, but Pierre Foldes’s film ultimately fails to create any clear identity of its own.
  11. Missing
    The film ties itself into many knots as it chases the superficial sugar high of a big reveal.
  12. Sharper
    A fumbled ending lets the air out of what is otherwise a fun and quietly stylish caper.
  13. Infinity Pool
    If David Cronenberg seems almost indifferent to his audience, Brendon Cronenberg is so fixated on freaking people out that he can sometimes neglect to do much else.
  14. Scream VI
    It simply picks up the baton from the previous film, relying on a series of increasingly nasty, and at times exciting, kills to thrill audiences, while leaving everything in between to feel as fake as its vision of the Big Apple.
  15. The Old Town Girls
    The Old Town Girls never seems to have a strong enough sense of the kind of film it wants to be to pull together its more interesting elements into a coherent whole.
  16. Life Upside Down
    The film could aim with a bit more precision at the price of its characters’ evident comfort.
    • 87 Metascore
    • 50 Critic Score
    All Dirt Roads Taste of Salt
    Comparisons to the work of Terrence Malick and Julie Dash are inevitable, but Raven Jackson’s search for the sublime lacks both the rich philosophical inquiries of the former and the dense, lived-in specificity of the latter.
  18. Iron Butterflies
    Roman Liubyi’s documentary is nothing if not self-consciously obsessed with its own making.
  19. Theater Camp
    The film feels like sitting through extended acting exercises where everyone is giving it 110% every take.
  20. Rye Lane
    Rye Lane’s antic energy and caricatured portrait of England’s capital city fail to make its central romance truly resonate.
  21. The Boogeyman
    Ultimately, The Boogeyman is like so many other modern horror films that prioritize mood above all else.
  22. Gladiator II
    Like so many latter-day Ridley Scott films, Gladiator II at once feels half-baked and overstuffed, and the lack of internal consistency robs its action of sustained tension and its comedy of bite.
  23. Society
    Society never entirely decides whether it’s a plot-centric horror-mystery or an imagistic fantasy; the film’s self-conscious emptiness drains the incestuous conceit of its shock value, defanging a nervy gross-out.
  24. Kandahar
    Where Kandahar is most intriguing is in the oddly even-handed depiction of both American and Middle-Eastern characters as largely exasperated professionals going about their grisly work because they’re too old to pivot to a different job.
  25. A Family Affair
    Ultimately, Richard LaGravenese’s rom-com is a little too packed with soul-searching speeches.
  26. The Plough
    The sort of gravitas that seems necessary for the most satisfying of French clichés to amount to playful reworkings, not tired repetitions, only makes a few appearances throughout the film.
  27. Ballerina
    Sans a mythology of its own, or any substantive ties into where the John Wick films go chronologically after this, Ballerina is just another 87Eleven joint.
  28. The Night of the 12th
    The film wants for deeper characterizations or a closer detailing of criminal procedure.
  29. Haunted Mansion
    The film handily invokes the campiness of the iconic Disneyland attraction, if not its kinetics.
  30. Ruby Gillman, Teenage Kraken
    Sweet but narratively thin and didactic, the latest from DreamWorks Animation always seems as if it’s trying to find its footing.
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