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. Into the Ashes
    Aaron Henry is prone to pulling back from any moment that might give greater depth to his revenge tale.
  2. Jungle Cruise
    Jaume Collet-Serra’s deft touches elevate what otherwise feels like another formulaic contemporary Disney blockbuster.
  3. The Boss Baby
    Every Republican regime gets the ludicrous devious-baby saga it deserves.
  4. Joan of Arc
    Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.
    • 50 Metascore
    • 50 Critic Score
    Switch
    Switch is possibly the driest and most balanced documentary on the current energy crisis.
  6. The Night Eats the World
    Dominique Rocher reinvigorates the zombie film only to succumb to the strictures of the coming-of-age romance.
  7. Shoplifters of the World
    The film lacks for the empathy, curiosity, and sense of humor that are the defining characteristics of the Smiths’s music.
  8. Cobweb
    As tantalizing as the film’s ambiguity can be in certain moments, there comes a point where it starts to feel at once half-baked and a transparent means of delaying the inevitable.
  9. Boundaries
    Christopher Plummer brings a twinkly eyed insouciance to his character, but there's only so many times Jack can make a joke about, say, his adult diapers before it becomes thin and hollow.
  10. Trash
    Director Stephen Daldry, working from an exploitative script by Richard Curtis, opts for a full-on Slumdog Millionaire imitation.
  11. After the Wedding
    The film diverts us away from its hint of a social message using a series of tired twists and turns that don’t signify much of anything.
  12. Ruby Gillman, Teenage Kraken
    Sweet but narratively thin and didactic, the latest from DreamWorks Animation always seems as if it’s trying to find its footing.
  13. Champions
    As Champions tediously veers between the increasingly rote narrative beats of an inspirational sports story and a love story of opposites attract, it further stresses its own archaic qualities with a consciously anachronistic soundtrack that includes Chumbawamba’s “Tubthumping,” EMF’s “Unbelievable,” and Outkast’s “Hey Ya.”
  14. The Campaign
    A lumpy spoof of electoral mudslinging that offers some bracing bipartisan contempt amid the lowbrow, labored slapstick.
  15. Ticket to Paradise
    George Clooney’s and Julia Roberts’s undimmed charisma brings enough grace notes to Ticket to Paradise that you could easily be taken in by its low-stakes frivolity.
  16. Hood to Coast
    Hood to Coast mostly suffers from an incessant soundtrack that stuffs the film with a peppiness that blocks the tragedy of its characters from view, as well as their overcoming it.
  17. A Kind of Murder
    The film seems more interested in its art design then in fully developing the story's underlying sexual ethics.
  18. It Lives Inside
    The film views its main character’s culture, as well as her struggles to suppress her identity in order to fit into her suburban world, with a nonchalance that often scans as negligence.
    • 50 Metascore
    • 38 Critic Score
    Off-White Lies
    Elya Inbar is a surprisingly commanding screen presence, but she's contending with a screenplay plagued by contrivance--a battle few could win.
  20. Child of God
    James Franco's general aesthetic is ugly and ambling, not so much because of its brownish-gray monochrome, but because it registers like the jerky result of a college kid wielding a DV cam.
  21. My Salinger Year
    The film fails to effectively seize on how its main character’s life and work experiences have affected her as a person and artist.
  22. My Mother's Wedding
    Where Jonathan Demme’s Rachel Getting Married completely immersed viewers in the sometimes messy intimacies of family, My Mother’s Wedding feels more like a stage production that forgot to include its first act.
  23. Shit Year
    Shit Year is a thematic twin to Billy Wilder's "Sunset Boulevard," both heightened fables about the slow disintegration of a retired actress mourning her now-dead career by retreating inward.
  24. As I Lay Dying
    James Franco's readiness in approaching famously abstract source material certainly doesn't translate well into his directorial formalism, or, more appropriately, lack of formalism.
  25. Lovely Molly
    The film's inconsistent, largely bankrupt style is second to how hard and tackily it leans on the horror of child abuse to goose audiences.
  26. Now You See Me
    There's nothing behind all this sturm und drang but a lineup of insubstantial ciphers, all false fronts and empty words in a pretend world not quite conducive to emotional investment.
  27. Witchboard
    Some of the period action set pieces are spirited in their staging, while the film doesn’t lack for gruesome and elaborate kill sequences, which is almost enough to distract from the screenplay’s patchiness and insipid characterizations.
    • 50 Metascore
    • 38 Critic Score
    Dark Skies
    Scott Stewart's Dark Skies is the definitive horror film for the Tea Party era.
  29. The American Society of Magical Negroes
    There are versions of this premise relevant to a modern world, but the film’s point of view on the state of race relations feels stuck somewhere around 1954.
  30. Bel Borba Aqui
    There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced.
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