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. Cockneys vs Zombies
    Matthias Hoene allows the cockney swears to flow as deliriously as the truly convincing blood splatter, offering a few unexpected gut-busters along the way.
  2. Nothing Bad Can Happen
    A film so comprehensively miscalculated in its desire to be a batshit think piece that it potentially creates a new category of offense.
  3. The Intern
    Nancy Meyers is unquestionably committed to her auteurist signature of giving her female protagonists their cake and letting them eat it too.
  4. The Age of Adaline
    Less a sincerely kooky elegy to lost time than a slightly off-kilter acting out of familiar rom-com bona fides about commitment-phobes missing out on life.
    • 51 Metascore
    • 50 Critic Score
    96 Minutes
    Director Aimee Lagos seems to be at odds with her own film, like a well-meaning but controlling parent hell-bent on choosing a child's college, major, and fraternity for them.
  6. Girls of the Sun
    With its naked celebration of self-sacrificial combat and idealization of the soldier as an avenging angel, it strikes a tone redolent of old-school war propaganda.
  7. Final Cut
    Unlike One Cut of the Dead, Michel Hazanavicius’s similar ode to low-budget resourcefulness often rings false.
  8. Whitney Houston: I Wanna Dance With Somebody
    There are only clichés in this rise-and-fall material, with the sole distinctive wrinkle being the weight given to the rise versus the fall.
  9. Hello, Dolly!
    The choreography, the performances, the set decoration, the dialogue, everything about Hello, Dolly! is played directly to the back row of the theater, which would be fine on the stage, but on anamorphic widescreen close-ups tends to be more frightening than mirthful.
  10. Woman Walks Ahead
    As a character, Catherine Weldon suffers the same fate as Sitting Bull, having been reduced to a signifier of the filmmakers' retroactive political correctness.
  11. Jurassic World: Fallen Kingdom
    J.A. Bayona's gothic flourishes suggest opioid hallucinations, and they're a welcome escape from the doldrums of the writing, but they seem at odds with the rest of the film.
  12. You're Cordially Invited
    By the time You’re Cordially Invited finds the correct mode to operate in, it’s about five minutes before the end credits roll.
  13. How Much Does Your Building Weigh, Mr Foster?
    Lionizing a world-class architect without tipping into hagiography, this documentary performs a graceful cinematic dance around his works.
  14. Sassy Pants
    Sassy Pants has a slightly ludic atmosphere akin to another tale of teen alienation, Dear Lemon Lima, but it unfolds like a fable in which only Bethany doesn't feel like a canned caricature.
  15. The Sheik and I
    The film is ultimately more concerned with Caveh Zahedi's attempts to pursue a variety of dull passing fancies than with any larger agenda.
  16. Age of Uprising: The Legend of Michael Kohlhaas
    Greatly cognizant of the revenge genre's penchant for hypocritical demagoguery, director Arnaud des Pallières unsettles the audience's usual feelings of vicarious blood lust.
  17. The Short Game
    This window into the world of youthful competition almost entirely disposes of social awareness in favor of routine drama.
  18. Rabid Dogs
    There's no reason for Rabid Dogs to exist, as even character identity and motivation receives little attention.
  19. The Neon Demon
    The simmering insinuations of Nicolas Winding Refn's film eventually flower into full-on exploitation.
  20. Oh Mercy!
    Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime.
  21. The Last Full Measure
    The film largely evades any perspectives that might question the institutions that put our soldiers in harm’s way.
  22. The World is Full of Secrets
    Graham Swon undermines our expectations of horror-movie conceits, attempting to tap the primordial manna of oral storytelling.
  23. Contraband
    Heist, swindle, and other like-minded genre films thrive or flounder on the mechanics of their story's dangerously elaborate scheme, a fact ably proven by Contraband, a tale of high-seas smuggling without a clever thought in its leaden, derivative head.
  24. Breathe
    The film is an easily digestible replica of the truth, bathed in honeyed cinematography and sentimentalized adulation.
  25. Death of a Unicorn
    Death of a Unicorn taps into the anti-capitalist strain in late-20th-century monster movies from Alien to Jurassic Park by tracing a clever through line from the unicorns of antiquity to the present.
  26. Cesar Chavez
    Not unlike Michael Peña's prior supporting roles, Chavez is marked by an explosive anger kept under a cherubic, sweet-natured mask, providing the surprise lacking in the story's text.
  27. Leviathan
    A mediocre, quasi-diverting B movie.
  28. The Second Best Exotic Marigold Hotel
    Like its predecessor, the film is a charming example of what great actors can do with mediocre material.
  29. 3, 2, 1... Frankie Go Boom
    The film never really goes soft, as Jordan Roberts never loses sight of the fact that these toxic nincompoops are authentically bad for one another.
  30. Next Door
    Unlike Malcom & Marie, Daniel Brühl’s feature-length directorial debut proves to be authentically self-castigating.
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