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. Ice Age: Continental Drift
    Caters almost exclusively to the remedial, Duplo Blocks demographic, leaving parents and guardians bored to distraction.
  2. Mary Shelley
    In its final act, the film abandons its fruitful investigation of belief systems in favor of a simplistic articulation of Mary's inspiration.
  3. A Rubberband Is an Unlikely Instrument
    It's as though the director, like his subjects, was too comfortable in the safe familiarity of the surface to find the place where it betrays us.
    • 49 Metascore
    • 63 Critic Score
    La Rafle (The Round Up)
    Sentimentality may make the movie's agony more digestible, but its darkness resists any glossing over of what isn't only France's, but Europe's painful legacy.
  5. Bullet Train
    David Leitch’s film pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.
  6. Y2K
    The big sequence where the year 2000 hits and everything from a toaster to a Tamagotchi goes homicidal is a chaotic blast, but once the film shifts into a broader comic gear, it never quite finds its heart again.
    • 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.
  8. Amsterdam
    The film recalls nothing less than Inherent Vice in its use of a threadbare detective narrative to explore both human interactions and grander ideas about the American society of its time.
  9. Django
    The film's most crucial shortcoming lies in its failure to illuminate both the inner life of its subject and his artistic genius.
  10. Frankenstein's Army
    The found-footage gimmick mostly comes off as window dressing for what turns out to be yet another mad-scientist-run-amok romp.
  11. Downhill
    Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
  12. Words and Pictures
    At least the irony with which this transparently written and dispassionately aestheticized film so demagogically argues for the value of words and pictures is brutally convincing.
  13. Stars in Shorts
    Generally, these shorts do little to advance their own arguments, but then again, they don't need to; if the short film is the arena of students, amateurs, and small-timers, then these are overdogs from frame one, coming off every bit as expensive and banal as their makers allow them to be.
  14. Adult Life Skills
    The film uses the grieving process to lend the proceedings a sense of unearned emotional gravitas.
  15. The Catcher Was a Spy
    As the film proceeds, the appeal of its nostalgia wears thin and you may notice that there isn't much beyond the window dressing.
  16. Little
    Its most amusing moments are in the interplay between the central characters as they adjust to an abruptly shifting reality.
    • 49 Metascore
    • 25 Critic Score
    Cheerful Weather for the Wedding
    The Donald Rice film suffers most from an excessively blunt approach.
  18. V/H/S/2
    A welcome contrast to the first film's snuff-y atmosphere and general mean-spiritedness, featuring more humor, fewer hateful characters, and occasional twinges of relatable human emotion.
  19. The Wannabe
    The film is less a revisionist take on the circumstances of John Gotti's 1992 indictment than a tedious love child of Bonnie and Clyde and Goodfellas.
  20. Insidious: The Last Key
    The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome.
  21. Reminders of Him
    Vanessa Caswill’s film feels reverse engineered to maximize emotional impact.
  22. Stuck in Love
    The movie aims for an admirable balance, but fatally upsets that equilibrium in its hurried resolutions.
  23. When Comedy Went to School
    It confuses nostalgia for earth-shaking cultural upheaval, never really expounding on the actual effect of the Borscht Belt circuit's influence.
  24. Last Looks
    Throughout Last Looks, the filmmakers tend to a conventional mystery that could have benefited from more satiric intention.
  25. Riddick
    For a film about a killing machine who can see at night, it's fittingly ironic that the film itself is, both narratively and visually, a dark, muddled mess.
  26. Cooties
    It makes an occasionally spirited pretense of injecting the tensions of the United States's educational system into a familiar zombie-siege scenario.
    • 49 Metascore
    • 50 Critic Score
    Everybody Has a Plan
    Ana Piterbarg's handsome, if uninvolving, film privileges mood over narrative and dumb brooding over character.
  28. Welcome to the Punch
    The sheer wastefulness of Eran Creevy's Welcome to the Punch is off-putting enough, but the film is also falsely painted-up as a crime epic.
  29. Mark Felt: The Man Who Brought Down the White House
    Mark Felt is a kind of hagiography, and it leans toward whitewashing its subject's legacy, which extends even to the man's illegal break-ins and wire-tapping of the leftist activist group the Weather Underground.
    • 49 Metascore
    • 75 Critic Score
    How to Make a Killing
    John Patton Ford cultivates an old-school flair while keeping one finger on the pulse of the current moment
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