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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    • 85 Metascore
    • 50 Critic Score
    I'm Still Here
    The film has trouble excavating any coarse humanism from this decidedly human story, opting instead to paint the family at its center in broad, uninspired strokes.
  2. On Swift Horses
    It’s difficult to shake that there’s something tragic blaring from the sidelines that the film’s wistful, pitch-perfect Hollywood ending can’t acknowledge.
  3. The Return
    The Return may render its mythological figures lifelike through flesh and blood, but nowhere inside that viscera lies a beating heart.
    • 49 Metascore
    • 50 Critic Score
    Daniela Forever
    Metaphysical implications about the nature of reality or the possibility of shared consciousness are left mostly unspoken, as the film spends more time developing a surface-level study of the desire for romantic possession and control.
  5. Happyend
    Sora Neo struggles to balance the immediacy of adolescent angst with the long-range outlook of using the students’ experience as a canary in the coal mine for society at large.
  6. Plastic
    Even a banal life can have a musicality and life to it, but once it leaves high school, Plastic’s portrait of adult life comes off as a monotone drone.
  7. Song Sung Blue
    Song Sung Blue is content to pendulum-swing from triumph to tragedy and back again with all the self-control of a drunk driver.
    • 51 Metascore
    • 50 Critic Score
    What Just Happened
    Generally, the film is a compelling portrait of Hollywood egoism, though it suffers from this very egoism itself. It’s hard to tell where the film is representing reality, and where it is representing a caricature of reality.
  9. How to Train Your Dragon
    As heartwarming as this story remains at its core, it’s hard to shake that you already know how it will play out.
  10. The Gorge
    For a solid hour or so, the film is patient and tense, with just the right touches of levity and romance. Until, suddenly, it isn’t.
  11. Wuthering Heights
    Like a particularly impressive aspic, Wuthering Heights is tantalizing to behold but not so easy to swallow.
  12. 28 Years Later: The Bone Temple
    The Bone Temple doesn’t pack the moment-to-moment kineticism of the prior films.
  13. Grafted
    Grafted’s biggest problem is that it loses all momentum once the face-swapping kicks into motion, meandering along with no real sense of rising danger or ensuing consequence as the baton is passed from one victim to the next.
  14. Night Call
    Michiel Blanchart’s film often feels like a patchwork of half-developed ideas, each more loosely and tenuously woven into the whole than the last.
  15. Fight or Flight
    Dramatic moments create tonal stutters that prevent the film from becoming the unhinged Looney Tune that it wants to be.
  16. The Accountant 2
    As The Accountant 2 drags out to over two hours, and its two storylines remain tonally at war with one another, it becomes increasingly clear that, two films in, this series still hasn’t figured out exactly what it wants to be.
  17. Kiss of the Spider Woman
    For a musical so dedicated to celebrating and critiquing the transformative potential of cinematic fantasy, Bill Condon’s Kiss of the Spider Woman brings relatively little of the kind of overwhelming star power that can truly transport audiences.
  18. Oh, Hi!
    After its opening act, the film gets silly fast, with a frankly stupid witchcraft subplot and narrative turns that are telegraphed with audience-insulting obviousness.
    • 65 Metascore
    • 50 Critic Score
    The Picture of Dorian Gray
    Picture of Dorian Gray isn’t awful, though it’s certainly an instance in which an outright debacle would have made a much more interesting film.
  20. The Rule of Jenny Pen
    The film single-mindedly sees its elderly characters as objects of disgust or receptacles for harm.
  21. Neptune's Daughter
    As if trying to put quotation marks around its disposability, 1949’s Neptune’s Daughter uses a perpetually underwhelmed narrator to undercut its central love story, surrounded by polo antics and swimwear fashionistas.
  22. After the Hunt
    While its desire to question absolutes is admirable, there’s a hollowness at the film’s core that prevents it from having a more pointed impact beyond surface provocation.
  23. Nobody 2
    Behind the violence and gore, Nobody 2 only offers the skeleton of a narrative.
  24. Good Boy
    A horror tale told from the perspective of a dog, Ben Leonberg’s Good Boy is the sort of film that was always destined to live and die by the strength of its central gimmick.
  25. We Bury the Dead
    There’s a thoughtful zombie tale with its own distinctive personality lurking somewhere within We Bury the Dead, but it’s overridden by the film’s more generic elements, and that identity ultimately gets lost among the horde.
  26. Materialists
    As its second half begins to focus more on Lucy’s dating dilemma, and how she’s forced to confront her firmly established beliefs and rules about dating, the film hews increasingly close to the narrative expectations of the traditional rom-com.
  27. The Running Man
    In flinching at the end, The Running Man ultimately becomes akin to the very thing it criticizes: a hollow, mollifying image of empowerment that distracts from the logical conclusions of its nihilistic premise.
    • 57 Metascore
    • 50 Critic Score
    Tornado
    Tornado’s winking theatricality, thematic fixations with myth and avarice, and pared-down plotting add up to a heady concoction, but it’s more conducive to reflection than engagement.
  29. The Roses
    The War of the Roses, both the book and the Danny DeVito film, is an infamously brutal comedy of terrors, and The Roses is cuddly by comparison.
  30. The Smashing Machine
    Despite the retro vérité aesthetic that Benny Safdie employs to give Mark Kerr’s story a stylish new coat of paint, all that his version ultimately does is whip up a feeling of déjà vu.
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