Slant Magazine's Scores

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For 7,777 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: 4,351 out of 7777
  2. Mixed: 1,493 out of 7777
  3. Negative: 1,933 out of 7777
7777 movie reviews
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  1. What If
    Right up to its simplistic ending, the film is pleased to regurgitate the contrived tropes of the genre without ever honestly addressing the ethics of romantic boundaries.
  2. Big Sur
    The viewer is informed of a world of chaos, obsession, and irresolution, but has no cinematic means of accessing or understanding it.
  3. Zero Charisma
    It's a pity that it hews to sitcom-like formula rather than using this bank of knowledge and sympathy to create something more original.
  4. Sal
    It functions under the delusion that subtext will magically appear if you linger on a character long enough, and the significance of most of its scenes is nothing if not inscrutable.
  5. Maggie
    Its only claim to uniqueness becomes running the standard zombie narrative through a Hallmark-card filter.
  6. Argento's Dracula 3D
    The film is dispiriting because there's virtually no sign of Dario Argento in it, nor of any novel motivation to mount yet another version of an oft-told tale.
  7. Inuk
    The film can boast of an exotic locale and rare potential, but in Mike Magidson's hands the filmmaking is disappointingly shopworn.
  8. Charlie Countryman
    An egregious entry into the pantheon of films about white Americans traveling to exotic lands in search of identity and soul-searching adventure.
    • 50 Metascore
    • 38 Critic Score
    The Human Scale
    While there's no doubt that a city's walkability is important, the film would have benefitted from either stats or testimonials in favor of its central premise.
    • 64 Metascore
    • 38 Critic Score
    Medora
    It feels as if it set out to be an inspirational tale about underdogs beating the odds, but instead of giving color to the story, the filmmakers presented it with black-and-white ideas.
  11. Victor Frankenstein
    Victor Frankenstein is the movie version of a carnival sideshow, all smoke and mirrors, presenting a litany of human freaks and animal monstrosities to distract from the superficiality of its psychological and intellectual concerns.
  12. Open Grave
    Individual moments linger, but Gonzalo López-Gallego's film is merely a rough draft of a thriller.
  13. Reaching for the Moon
    Bruno Barreto's insistence that this pass for a product that Hollywood might have spawned smoothens a journey built on sharp edges.
    • 42 Metascore
    • 38 Critic Score
    Cold Turkey
    While featuring much screaming, accusations, collision of agendas, and the exhuming of dirty secrets, the film remains emotionally tone deaf.
  15. Twice Born
    Sergio Castellitto's film quickly turns out to be more interested in reveling in the secrets of its storyline than in its sentiments.
  16. Live by Night
    There's nothing at the center of Live by Night, no foundation of drama to ground the convoluted mash-up of so many genre tropes.
  17. Passengers
    Monogamy, Passengers seems to suggest, is tantamount to existing in a world where nothing else matters outside of the bond you and your partner share.
  18. Paul Verhoeven's Tricked
    Nothing more than an absurdist soap-opera bauble.
    • 17 Metascore
    • 38 Critic Score
    Best Night Ever
    The filmmakers make sure their female protagonists constantly look immature and irresponsible, and are intent on punishing them for wanting to have a good time.
  20. Sabotage
    There's no sense of visual artifice to match the ludicrous pitch of the script, and subsequently, the film comes off as awkward and uncertain.
  21. Regression
    It spends a lot of time considering the fear of knowing, which may explain why Alejandro Amenábar didn’t seem to know what kind of film he was making.
  22. This Is Where I Leave You
    And the jury's still very much out over whether Shawn Levy is an inept comedy director masquerading as an opportunistically dramatic one, or vice versa.
    • 25 Metascore
    • 38 Critic Score
    Merry Christmas
    The conceit has the potential to be amusing, but the role-playing is never as funny or immersive as it could be, and the characters' repartee often feels more stilted than witty.
  24. Draft Day
    The cruelly obvious third act congeals the film as a wet-eyed monument to the Kevin Costner character's particular brand of American manliness, one that values gut instinct, it's implied, over cold and ruthless calculations.
  25. The Wedding Ringer
    This big, brash, occasionally clever, but mostly dumb comedy is so gallingly derivative that watching it feels like playing a game of basic-cable bingo.
  26. 1,000 Times Good Night
    It's difficult to swallow the premise of yet another tale of a heroic white Westerner with good intentions trying to give hope to Middle-Eastern misery.
  27. San Andreas
    In Brad Peyton's San Andreas, the biggest earthquake in recorded history is less natural disaster than divorce negotiation process.
  28. Self/less
    The film's corporate blandness is almost as dispiriting as its disinterest in exploiting the inherent saliency of the material.
    • 52 Metascore
    • 38 Critic Score
    Life of a King
    Any potential flights of invention or creativity are subordinate to the plain and emphatic delivery of life lessons.
  30. Pan
    Whatever drugs director Joe Wright may or may not have been on when he wrestled Pan to the ground, pulverizing the material into a quivering mound of monkey-bread dough, you can trust that they were synthetic. Not a single emotional moment in this entire origin story for J.M. Barrie's Peter Pan, Captain Hook, and Neverland feels organic.
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