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. Ferlinghetti: A Rebirth of Wonder
    Christopher Felver is too reverent to properly convey the invigoratingly profane, angry messiness of the sense of community that Lawrence Ferlinghetti and his peers too briefly brought to life.
  2. The Ticket
    The Ticket abandons the potentially complex web of drama it initially sets up and moves toward a limp, shallow critique of superficiality itself.
  3. No Man's Land
    No Man’s Land mostly suggests a performance of allyship on the filmmakers’ part.
  4. The Monuments Men
    George Clooney's film boils a big, messy maelstrom of theft and uncertainty down to a digestible, faintly appetizing mush.
  5. Rudderless
    It unnecessarily hampers itself for over an hour for the sake of a gotcha moment before finally allowing its actors to explore something more than generic grief.
  6. Felony
    It reveals itself to be a profoundly cynical movie posing as a work of idealism, and it's all the more insidious because it's otherwise so bland and forgettable.
  7. 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.
  8. On the Come Up
    Jamila C. Gray lends credibility to Brianna Jackson, who happens to be searching for just that. She plays the damn role.
  9. Beckett
    It’s thanks to a kind of tug of war between background and foreground that Beckett succeeds as a piece of entertainment.
  10. Triple 9
    It arrives prepackaged with suggested comparisons to Michael Mann's Heat that it never earns because of its dreary literal-mindedness.
  11. Everything, Everything
    The film's plot crux isn't romantic fatalism, but 2017's cutest manifestation of trendy gaslighting.
  12. Manolo: The Boy Who Made Shoes for Lizards
    Michael Roberts's documentary is an unabashed exercise in deifying its subject matter with superlatives and hyperbole from the mouths of talking heads, which ultimately results in the cheapening of the artist.
  13. Epic
    And that's the thing with Epic: It's something close to an animated masterpiece, provided it's watched on mute.
  14. Paul, Apostle of Christ
    The film's simple, redundant, but valuable moral lesson to its audience finds comfortable enough expression in an aesthetic that's banal but impressively consistent.
  15. Bloody Hell
    The film’s manic blend of gore and relentlessly cheeky comedy eventually leads to diminished returns.
  16. The Last Thing Mary Saw
    The film comes to feel like a parody of a possession flick rather than a straightforward replication of the genre’s tropes.
  17. Safe House
    It'd be unwise to dismiss Safe House as merely a clone of Tony Scott's manically inclined vision.
  18. Janie Jones
    First thing to get out of the way: No, David M. Rosenthal's third feature, Janie Jones, has nothing to do with the famous song by the same name that opens the Clash's self-titled 1977 debut album. Perhaps that might have made this film far more interesting film it is.
  19. Peeples
    Tina Gordon Chism's film collapses into a series of clumsy improvisatory sketches, tied up in cheap, risibly sentimental catharsis.
  20. Hit So Hard
    P. David Ebersole so busy flitters from one point of interest to another that Hit So Hard never coheres into anything other than a collection of rock-star clichés.
  21. Bilal: A New Breed of Hero
    The animation feels like the result of the cold calculus of an algorithm rather than a human director with a personal vision.
  22. Labor Day
    A better film would have had the gumption to maintain the poetic bleakness, rather than steer toward what ultimately feels like safe compromise.
  23. The Hunger
    Scott’s film scarcely has its pulse on the encroaching conservatism of the nation. In the end, it’s just a shallow lesbian fantasy so aggressively spit and polished as to suggest a 96-minute White Diamonds commercial. Of course, that’s not to say that it isn’t fun.
  24. One Chance
    David Frankel crams his story with predictable developments, yet he matches his subject in spirit, pushing something into the spotlight that, however unlikely, elicits irresistible glee.
  25. The Interview
    It essentially uses a major global issue to cheaply dress up what is two hours of hit-and-miss erection jokes.
  26. RoboCop
    Ultimately the film is, like the Faux News programming it caricatures at face value, a deck-stacking simulation of a dialogue it isn't even remotely interested in opening.
  27. Saint Laurent
    No matter how much Bertrand Bonello varies his split screens, triptychs, and geometric screen divisions, he forgets that one of the most fashionable virtues is knowing when to leave.
  28. Boris Without Béatrice
    The film offers an oxymoronic parable that’s been utilized countless times by cinema, in loose reiterations of A Christmas Carol: The protagonist must learn humility after learning that the world revolves around him.
  29. Linsanity
    The interpolations of "heavenly" sequences of Jeremy Lin playing basketball against CGI backdrops offer a hokey visual analogue for the intersection of faith and sports in his life.
  30. Beautiful Creatures
    Beautiful Creatures basically spits in the face of a legacy of literature founded on feelings of exclusion and social alienation.
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