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. Mob Land
    John Travolta’s scenes are islands of tranquility in a jittery sea of rote crime-movie pyrotechnics.
  2. Poltergeist
    It's the cinematic equivalent of a pat on the back accompanied by a slap in the face.
  3. Puerto Ricans in Paris
    The film simply limps to predetermined truths that hypocritically advocate the maintenance of placid family values.
  4. Hercules
    The film fluctuates haphazardly between semi-serious reverence and tongue-in-cheek camp, with no shortage of opportunities for the inevitable Rifftrax accompaniment.
  5. The Evening Hour
    In spite of the film’s strikingly lived-in sense of place, the script’s melodramatic storytelling works against that verisimilitude.
  6. Max
    It hits its Red State beats so hard that its target audience likely won't notice they're being not only condescended to, but insulted outright.
  7. Irresistible
    These are desperate times, but if Jon Stewart wants to tack toward a more Frank Capra vein, that’s just fine. We already have one Adam McKay.
  8. Boy Kills World
    If you’re looking for flash and snark, Boy Kills World has them in spades, but it’s too punch-drunk on its own juvenile grandiosity to bother offering even a whiff of substance.
  9. Crouching Tiger, Hidden Dragon: Sword of Destiny
    Sword of Destiny has an appealingly inventive, unruly genre party streak running down its figurative back.
  10. Masterminds
    Jared Hess's film turns out to be a succession of failed jokes punctuated by a few cathartic laughs.
  11. Shock and Awe
    Rob Reiner's film rests on broad, sweeping proclamations about the importance of factual reporting.
  12. Project Almanac
    The film delivers the same misogynistic, faux-modernistic jolts of trashy humor and labored plotting that typify the work of co-producer Michael Bay.
  13. Fists of Legend
    The film is so generous in its characterizations that it's easy to overlook the fact that its hot-topic drama (bullying, economic marginalization, etc.) amounts to little more than padded lip service.
  14. Corner Office
    The film goes to show that humanism and absurdism are often two expressions of the same face.
  15. Mammuth
    The movie's deathblow is the casting of poet-artist Miss Ming as Mammuth's affectless niece, whose twee verse and sculpture make Miranda July seem like a bearer of gravitas.
  16. What Happened to Monday
    Tommy Wirkola’s film squanders an evocative premise in favor of rote gun-fu carnage.
  17. The Ardennes
    It predictably lurches toward acts of extreme violence with little interest other than the instant titillation such moments afford.
  18. The Great Gilly Hopkins
    Glenn Close's face teems with a flawlessly controlled gravitas that’s completely at odds with the film’s ordinariness.
  19. Godzilla x Kong: The New Empire
    The last 20 minutes live up to the promise of bludgeoning viewers with plenty of rock-‘em-sock-‘em combat and demolished human landscapes, but what any of it is actually for will be forgotten even before the dust begins to settle.
  20. The Seeding
    Ironically for a film that unfolds almost entirely in a single, contained location, The Seeding is all over the place.
  21. Maniac
    Its audio-visual overload testifies to a group of filmmakers' belief that some films are made to be remade.
  22. Open Windows
    Timidity and perhaps fear, of visual confinement, of lingering emotional engagement, closes Nacho Vigalondo's most promising windows.
  23. Heaven Is for Real
    Heaven Is for Real is by Christians, for Christians, and deliberately, if subtly, antagonistic toward everyone else.
  24. The Giver
    The internal crisis of its protagonist amounts to the flicking of an on/off switch rather than the ebb and flow of a consciousness being born.
  25. Alice
    Alice plays as an inadvertent parody of contemporary liberalism’s fascination with and fetishization of ‘70s black radicalism.
  26. Fanny
    The characters, the sets, and the scenes all exist to propagate the notion that pleasure derives from repetition and remediation.
  27. Blair Witch
    It doesn't suggest documentary footage found in the woods so much as a haunted-house version of Hardcore Henry.
  28. Hotel Transylvania
    Yet another instance of a decent, potentially thorny premise bogged down in a mess of treacly sentiment and tedious moralizing.
  29. Rock of Ages
    If the Adam Shankman film's debasement of its subject into campy kitsch is the unavoidable fate of all culturally dangerous art, that doesn't make it any less palatable.
  30. A Teacher
    We're only allowed an insufficient glimpse of the anxiousness and curiosity that drive these creatures, a tactic which feels suspiciously like hesitance masquerading as enigma.
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