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. Crime 101
    Like Mike’s modus operandi as a criminal, the film goes through all the pro forma motions.
  2. The Set-Up
    Robert Wise’s The Set-Up isn’t noir by any serious definition, its boilerplate fatalism undone by overbearing moralizing and the fact that Ryan’s boxer is too one-dimensionally good to register as tragic.
  3. In the Grey
    At some point before the truncated-seeming finale, the film is just chasing its own tail.
  4. WTO/99
    WTO/99 sets out to correct misrepresentation by corporate media about the aims of the movement, but that attempt is hampered by the recycling of much of the same news footage from news broadcasts.
  5. I Love Boosters
    Arrhythmic, unfocused, and forgetting to breathe, this overstuffed film feels like a circus act, a well-dressed elephant on a unicycle juggling a dozen balls. It’s an impressive feat of dexterity, if not grace.
  6. Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D)
    The film doesn’t totally succeed in capturing the show’s scope or thematic through line.
  7. Disclosure Day
    Delivered from the heights of personal and professional validation, the great prophet of Hollywood’s sermonistic latest is akin to a detached, rambling, and academic exercise that treats cinema and humanity as a great and curious jigsaw puzzle.
  8. I Want Your Sex
    The film gets too caught up in concern trolling about the sexual timidity of today’s youth.
    • 50 Metascore
    • 50 Critic Score
    They Will Kill You
    This is a film that’s content to imitate its influences rather than build an identity of its own.
  10. The Death of Robin Hood
    Hugh Jackman’s take on a fabled friend of the poor may empty his veins, but the film might have meant more had he spilled his guts.
  11. Dolly
    One senses that Rod Blackhurst knows that Dolly is undernourished, but his attempts to jazz it up by splitting it into transparently titled chapters only calls further attention to that dearth of imagination.
  12. Over Your Dead Body
    Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.
  13. Faces of Death
    For a film that’s so well versed not only in the genre but in its tendencies to recreate and recycle itself, it’s disappointing to see Faces of Death do so in such slavish fashion.
  14. Lady Sings the Blues
    It’s an amateur star performance-as-Stanislavski mail order catalog: a powerhouse of Method-ology (born more from a lack of acting experience than pop singers’ already refined sense of emotive abandon), complete with ingénue tics, a self-conscious display of age range, tentative ad-libs, flailing limbs, leaky eyes, precariously receding eyelids.
  15. Manas
    With one foot planted in documentary exposé and the other in coming-of-age drama, the film falls short of satisfying the demands of either genre.
  16. Act of Violence
    Jan Sterling’s corpse gets felt up in one scene, and the great Elsa Lanchester leaves delectable bite marks on the scenery, but the film otherwise sees little worthwhile action.
  17. 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.
  18. The Walker
    Paul Schrader blends lethargic self-referentiality with anemic political jabs in The Walker.
  19. X-Men Origins: Wolverine
    The action is perfunctory and forgettable, albeit no more so than the script's range of clichés.
  20. Die Another Day
    The collection of clever quips on parade here are both tiresome and predictable.
  21. She Hate Me
    Most contracts are negotiated with John Hancocks, but in She Hate Me, deals are sealed with hot lesbian action. Spike, get a clue.
  22. In Praise of Love
    A sniveling diatribe from a great director beginning to resemble someone's senile grandfather.
  23. The Secret in Their Eyes
    Billy Ray unfurls the parallel time structure with the same flat, procedural monotony applied by Juan José Campanella to the original film.
  24. Don't Be Afraid of the Dark
    Does Katie Holmes's hubby get script-doctoring rights even on her own film projects? That would explain why Troy Nixey's inane Don't Be Afraid of the Dark, co-written and produced by Guillermo del Toro, at times suggests an anti-Rx PSA.
  25. Fast Five
    From unique to generic, it's a gear-shift that may prolong the franchise's life (a mid-credits coda confirms that a sixth installment is on its way), but, in the process, also renders it redundant.
  26. The Dictator
    Its dolly- and crane-operated polish points toward an acquiescence to Tinseltown mores, which until now Baron Cohen hovered cheekily above.
  27. Friends with Benefits
    For a film that had once made some pretense toward exposing such dangerously submissive attitudes toward Hollywood romance, Friends with Benefits's conclusion can't help but seem more than a wee bit disingenuous.
  28. X-Men: First Class
    Despite his apparent comfort with F/X-heavy projects, the obligations of duty to the brand are too much for Matthew Vaughn's strange, singular voice, which rarely has the chance to shape the film unmolested by a curiously bland script.
  29. The Smurfs
    Like the show, this boring, lazy, clumsily staged, overly lit, unnecessarily 3D-ed contraption even culminates with some half-hearted moral hectoring-in this case, the togetherness of the Smurfs works to validate heteronormative values.
  30. Bad Teacher
    Despite aping its title in order to suggest quality by association, Bad Teacher has nothing in common with "Bad Santa" -- including, alas, a genuinely nasty sense of humor.
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