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. A Good Person
    The more that Zach Braff’s script tries to thematically tie its disparate threads together, the more that A Good Person comes to resemble the very same type of neat and tidy self-contained version of reality that it ironically skewers in its prologue.
  2. Jurassic World Rebirth
    There’s a grating meta-ness to Gareth Edwards’s Jurassic World Rebirth that speaks to the filmmakers’ knowledge that they’re at the mercy of pressures to bring something new to a franchise that’s now on its seventh installment.
  3. The Hunt
    The film was almost canceled for being too partisan, so it’s ironic to discover that it’s practically apolitical.
  4. Little White Lies
    The specific narrative handicaps throughout are mostly too banal to warrant exegesis, though the choice of vintage pop tunes for dramatic underscoring is particularly grating.
  5. War on Everyone
    The film is in love with the tropes it ridicules, and it doesn't take long for that love to dwarf any possibility of critique.
  6. Marius
    Daniel Auteuil's less exercising diligent homage than indulging troglodytic cinephilia.
    • 50 Metascore
    • 88 Critic Score
    Swamp Thing
    It all adds up to a surefire cult film in the making.
    • 50 Metascore
    • 50 Critic Score
    The Equalizer 2
    Order and righteousness being the product of one great man, The Equalizer 2 is symptomatic of a confused time when people are collectively looking for invulnerable superheroes who don't so much as speak truth to injustice as beat the hell out of it, and its cathartic pleasures leave a bad taste.
  9. Life After Beth
    Jeff Baena's film, at heart, is just another overly familiar story of a boy struggling to get over his first love and who's rewarded for his troubles with a less volatile replacement model.
  10. Going Down in LA-LA Land
    Director Casper Andreas does a good job conserving a simultaneous sense of disgust and attraction for the way big-city dreams end up stripping off wannabes from everything but their bodies.
  11. i hate myself :)
    Few documentarians give themselves to their work as literally as Joanna Arnow.
  12. Here Comes the Devil
    The film is eventually revealed as less interested in subverting or playing off its influences than rigorously retracing them.
  13. The Ugly
    The film plays a long game with audiences that frustrates far more than it illuminates.
  14. Snow White
    This is a fairly paint-by-numbers exercise in updating a quintessential but unquestionably quaint property for modern consumption.
  15. Afternoon Delight
    Jill Soloway's film is dishonest in the way it attempts to mask self-pity as enlightened self-criticism.
  16. Skiptrace
    The film's bloated action-comedy machinery prevents any real chemistry from forming between Jackie Chan and Johnny Knoxville.
  17. Last Rampage
    Although Last Rampage's overarching narrative travels a well-tread road, it strikes a number of potent grace notes along the way.
  18. The Land
    Writer-director Steven Caple Jr.'s social-realist tendencies run up against some unconvincing genre elements.
  19. War Story
    Mark Jackson's direction strips much of the agency from any character's grasp by insisting that their dilemmas can only be revealed with stone-faced austerity.
  20. Lolo
    A curiously unsentimental director of romantic comedies, Julie Delpy sees romance for the work that it primarily is.
  21. Septien
    Like many films early in a director's career, it plays more as a sketchbook of intended future endeavors than as a cohesive and fully realized vision in its own right.
  22. Bloodsucking Bastards
    It evinces a qualified kind of courage in its anonymous convictions, parodying a world that barely ever existed by barely existing itself.
  23. The Vault
    The film misses the opportunity for a suspenseful interweaving of sports spectatorship and its characters’ high-stakes gambits.
  24. Lifeforce
    Watching Lifeforce now is to be reminded that even big-budget films were once allowed to be adventurous and idiosyncratic, even in the 1980s, and that American horror movies were once capable of being fun, sexy, and subversively empathetic.
  25. Going in Style
    No one in Going in Style seems to really know what the hell they’re doing or why. And even though that goes double for the filmmakers, at least no one succumbs to taking any of it seriously.
  26. The Zero Theorem
    Terry Gilliam has imposed a mix tape of his greatest hits, whose greatness was debatable to begin with, on a whiff of a story that might've flourished under the maxim "less is more."
  27. How to Talk to Girls at Parties
    The film's tagline goes “Talk to the girl. Save the world,” but at no point does Earth's fate hang in the balance, and talking to Elle Fanning's Zan is no great challenge for anyone.
  28. Racer and the Jailbird
    The film comes to concern a selfless martyr before morphing, most absurdly, into a disease-of-the-week tearjerker.
  29. The Guilt Trip
    Mothers and sons deserve an amiable comedy they can share, but this one proves to be faulty long before the requisite freeway breakdown.
  30. American Ultra
    A Bourne movie turned just askew enough to be funny, American Ultra trains a bemused eye on a trope ripe for a ribbing.
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