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. Stalingrad
    Its blind reverence toward the Russian mythos is so grandiose that it becomes impossible to rescue it from self-importance, and as such President Putin would likely give it two big thumbs up.
  2. One Track Heart: The Story of Krishna Das
    The overall product doesn't reveal anything about its subject that a Wikipedia page couldn't do just as well.
  3. Lola Versus
    A year in the life of a young woman unhappy in love and uncertain in career, Lola Versus could easily be faulted for the narrowness of its worldview.
  4. The Promise
    The Promise simply turns this historical tragedy into mere background noise for a flimsy romantic triangle.
  5. My Kingdom
    If this oddly delineated narrative often falls between two stools, then the replacement of brightly bombastic opera battles with dimly lit, more conventional action sequences is a similarly unwelcome development.
  6. The Persian Connection
    Daniel Y-Li Grove adeptly creates an icy, über-hip atmosphere of sleek clubs, pulsating synths, and woozy opium trips, a style which has the unfortunate effect of draining much of the cultural specificity from his story.
  7. Thérèse
    Claude Miller's swan song not only shares its main character's name but also her tempered disposition.
  8. Despicable Me 3
    If all this wackiness is only occasionally laugh-out-loud funny—the ‘80s references feel particularly played out—it’s nonetheless executed with good-natured breeziness.
  9. Granito: How to Nail a Dictator
    The key to good, or at least effective, agitprop (and Oliver Stone and Michael Moore know this) is that, yes, it must simplify matters, but it necessitates canny presentation so that it may truly get into viewers' blood streams and rile them.
  10. 30 Minutes or Less
    Watching 30 Minutes or Less, a proudly stupid action comedy that's awfully lethargic for all its slam-bang propulsion, it's tough to pinpoint who exactly Ruben Fleischer thinks he is.
  11. The Happy Sad
    Ken Urban, adapting his own play, fumbles at injections of urban, and decidedly not urbane, levity, in addition to telegraphing entire subplots.
  12. Resident Evil: The Final Chapter
    The Resident Evil films are so unconcerned with traditional character and narrative that they suggest either abstract art or the fevered brainstorming of a child at play.
  13. Venom: Let There Be Carnage
    The title isn’t only a promise of so much destruction to come, but also inadvertently an assurance that its most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
  14. Silent House
    Silent House dies a sudden and egregious death when the amateur players in Olsen's company, Adam Trese and Eric Sheffer Stevens, as her character Sarah's father and uncle, respectively, open their traps.
  15. The Best of Enemies
    The Best of Enemies may be based on a true story, but in so stubbornly turning the spotlight away from Atwater and the radical, grind-it-out community activism that took on the racism that Ellis helped to foster as a segregationist, it more accurately resembles an all-too-familiar Hollywood tall tale.
  16. The Happy Poet
    Like its sad-sack main character, whose closed-off personality makes him hard to fully understand or sympathize with, The Happy Poet is too reservedly rough around the edges.
  17. Protektor
    Engendering an experience both visually slick and narratively sprawling, the apropos-of-nothing professionalism of Protektor often feels more like branding than filmmaking.
  18. The Greater Good
    The intersection between drug-company profiteering and lobbying, and governmental and private-sector desires to protect people from deadly diseases, is navigated too cursorily by the documentary.
  19. Firebird
    There are clichés and then there are only clichés, and Firebird is suffocated by them.
  20. Gold
    The film finds no treasure of gleaming originality in its energetically told but crushingly clichéd anti-capitalist parable.
  21. Army of Thieves
    Matthias Schweighöfer’s film puts itself in a box, consistently failing to justify why its story deserves our attention more than the spectacle of the recently deceased rising to feast upon the flesh of the living.
  22. Son of a Gun
    The film has the requisite iconography of a crime thriller, but no investment in any of it.
  23. Griff the Invisible
    Director Leon Ford displays a wonderful empathy in his examination of Griff and Melody's lonely environments, allowing their fringe perspectives to flower organically from the mise-en-scène.
  24. 7 Days in Entebbe
    The conflation of historical complexities makes for cheap pathos throughout, complete with weeping mothers and the seemingly endless dredging up of the terrorists' obvious moral equivalence.
  25. The Tomorrow Man
    The film is content to peddle the naïve notion that love is the panacea for all that ails you.
  26. Greenland 2: Migration
    Greenland 2 plays out as a much more generic thriller than its predecessor.
  27. The Front Room
    If there’s any food for thought in The Front Room, it’s the ongoing portrayal of old folks in the A24 catalog.
  28. Horizon: An American Saga - Chapter 1
    The film is all table-setting, with the stories lacking in polish and dramatic momentum and the characters never developed beyond archetypes.
  29. Souvenir
    Huppert is such a master of her craft that even the silliest sequences give way to tour-de-force moments.
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