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. And While We Were Here
    Suggests a version of Roberto Rossellini's Voyage to Italy reworked as a photo diary posted on Facebook.
  2. Mothers' Instinct
    Benoît Delhomme’s 1960s-set directorial debut can’t decide whether it wants to be considered camp or not, awkwardly pitching itself between a somber drama and antic melodrama.
  3. The Banishing
    Christopher Smith’s film applies the haunted house trope in unfamiliar ways.
  4. Last Vegas
    The film is depressing, sub-sitcom fodder that will dull whatever affection you may still harbor for these legendary actors.
  5. Dashcam
    Dashcam is nothing if not consistent, as it’s every bit the empty provocation as the troll at its center.
  6. My Amityville Horror
    The film is a tender character portrait rooted in deep curiosity and sympathy for its subject.
  7. Every Day
    Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them.
  8. Jungle
    Greg McLean and screenwriter Justin Monjo faithfully hit the key plot points of Yossi Ghinsberg's 1993 book Back from Tuichi but fail to sell the severity of the threats Yossi confronts.
  9. The Counselor
    The film doesn't temper enough of Cormac McCarthy's excesses, but Ridley Scott and his ensemble find enough meat in his scenario to make for diverting, bloody pleasure.
  10. Song One
    This snapshot of catharsis follows a familiar trajectory, but Kate Barker-Froyland refreshingly resists elevating her characters' relationship to the level of grandiose.
  11. Red Hook Summer
    The seamless juxtaposition of faith and pain, innocence and guilt, allows the film to transcend Spike Lee's occasional bombastic moments and become a strong examination of internal suffering.
    • 48 Metascore
    • 38 Critic Score
    Solomon Kane
    The fight choreography has a gracefulness bordering on elegance, and so it's a shame that these standalone thrills aren't better integrated into the film as a fully formed narrative whole.
  13. Paris Can Wait
    The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.
  14. Jeanne du Barry
    Like the real Countess du Barry, it’s eventually caught up in the very pomp and splendor that it initially lampoons.
    • 48 Metascore
    • 38 Critic Score
    Underwater
    William Eubank’s Underwater is neither a too-big-to-fail event film nor a relatively low-budget genre sleeper. In other words, it doesn’t put in the effort to reach for the heights of Alien or plant its tongue firmly in cheek a la Deep Blue Sea.
  16. The Take
    For a film so interested in the public's malleability, The Take isn't particularly good at controlling its own audience.
  17. Backstabbing for Beginners
    It fills the screen with a series of explicative conversations set in offices, hotels, and cars throughout which people don’t so much talk to each other as indirectly to the audience.
  18. MFKZ
    The bulk of MFKZ is composed of chases and shoot-outs that, despite their chaotic energy, drive the plot forward at a plodding pace.
  19. Manodrome
    While John Trengrove’s skill is apparent in the slow build of tension, it also stands out in the arguably more impressive way that he holds Ralphie’s view of the world separate from that of the film’s.
  20. Planes: Fire & Rescue
    It's not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
    • 48 Metascore
    • 25 Critic Score
    Emperor
    Peter Webber's historical drama is blunt about its stylistic ambitions while at the same time failing to meet them, and the effect is one of sad ineffectuality.
  22. Tomb Raider
    This isn’t an adaptation of a video game so much as an adaptation of a video game’s tutorial level.
  23. Child's Play
    By the end, it becomes what it initially parodies: a dime-a-dozen slasher film with a silly-looking doll as the villain.
  24. We Need to Do Something
    We Need to Do Something mainly succeeds at suggesting a more compelling film beyond its bathroom walls.
  25. Gran Turismo
    What the film lacks in connective tissue, it makes up for in sheer vibes.
  26. Some Girl(s)
    Like most of Neil LaBute's work in the field of "emotional terrorism," the film protests that bad behavior isn't only good, but also essential to art.
  27. There's Always Vanilla
    Unfortunately, the haphazard, showy cross-cutting between Laine’s to-the-camera narration and the flashbacks (sometimes to scenes he couldn’t possibly recollect) do little to hide the fact that Romero, like his aimless protagonist, seemingly couldn’t care less.
  28. 300: Rise of an Empire
    Noam Murro gives the film nothing so much as a hit-refresh on the same glistening, impossibly golden and gray flecks of pixel-barf that have invaded the frames of every tent-pole studio release since the Bush administration.
  29. Triggered
    Once you get past the faux-provocation of the film’s title, it’s difficult to tell what ideologies the filmmakers are trying to skewer.
  30. Lockout
    Luc Besson's producing career has been so geared toward lean, tough genre films that it's somewhat apt that he'd ape--or, if we're being kind, pay homage to--John Carpenter's preeminent sci-fi actioner Escape from New York with his latest, Lockout.
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