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. Gunpowder Milkshake
    The fundamental ineptness of Gunpowder Milkshake appears to be a consequence of the exponentially swelling glut of streaming options.
  2. The Odd Life of Timothy Green
    Disney draws a big fat bullseye on the fast-growing infertile-couple demographic with this airless misfire.
  3. The Witches
    This is a sleek-looking vehicle that’s eager to be scary but not comfortable being ugly.
  4. The Returned
    It proves that the zombie narrative is still capable of subversion, but does so with the laziest, Lifetime-grade intimations of social relevance.
  5. Children Shouldn't Play with Dead Things
    Made on the cheap and inspired by early Romero, this zombie flick doesn’t even have the dead rise until the final half-hour. Until then, we’re stuck with an amateur theater troupe chattering away as they venture out to an abandoned island for a goofy séance.
  6. Kate
    Kate will leave you wishing that its narrative possessed the same attention to detail as its elaborately violent action set pieces.
  7. Shazam! Fury of the Gods
    The film fails to build on the whimsical foundation of the first film in any way.
  8. Until Dawn
    The film is far from original, but it successfully translates game logic to the big screen.
  9. Interior. Leather Bar.
    With Travis Mathews's help, James Franco's persona forms a kind of symmetry: 1980's dubious homophobia against 2013's risible homophilia.
  10. Before I Disappear
    Even at its most compelling, it remains inconsistent and superfluous, a lesson that sometimes a movie can feel more fully formed in 19 minutes rather than 90.
  11. At the Devil's Door
    An accumulation of dread in search of a properly fleshed-out screenplay to sustain it, the film plays like a show reel for writer-director Nicholas McCarthy's considerable craft.
    • 47 Metascore
    • 50 Critic Score
    Bobby Deerfield
    Bobby Deerfield is not so much a failed vanity project as it is a groping, often sensitive and rather death-obsessed character study based on Erich Maria Remarque’s fatalistically titled novel Heaven Has No Favorites.
  13. Nostalgia
    Mark Pellington's Nostalgia is less a living, breathing film than a presentation of sentiments revolving around a pat question: Are the objects of our lives merely detritus, or are they vital to our identities?
  14. In Secret
    A broad, crude mutilation of Emile Zola's noirish romance Thérèse Raquin that prioritizes heavy petting over plot.
    • 46 Metascore
    • 75 Critic Score
    Secret Admirer
    It’s relatively good. Of course, “relatively good” in the mid-‘80s teen-movie genre often means “not unwatchable,” and Secret Admirer doesn’t quite qualify as fresh or unpredictable...But it also has a handful of gratifying moments and nuances you don’t expect from the genre, starting with girls who eat and curse like boys.
  16. Black Rock
    Layered conflicts mount as this lean film treks on, and they're not limited to gender politics.
  17. Alien Abduction
    A few jolting scares are deployed throughout, but more difficult to shake is how the story's overacting lambs walk a rather programmatic path toward slaughter--or at least anal probing.
    • 46 Metascore
    • 63 Critic Score
    The Thing Called Love
    Such strained touches notwithstanding, The Thing Called Love charms and touches, not the least for revealing Bogdanovich as a rare filmmaker still interested in human behavior, keeping the action mostly in medium shots and extended takes to better catch the emotional nuances from character to character.
  19. Gringo
    The circuitous narrative of Nash Edgerton's Gringo is such that it never allows for a character or storyline to develop in a particularly efficient way, as every few minutes an abrupt twist or turn sets things off in a new and unexpected direction.
  20. Wonder Wheel
    The tone throughout vacillates wildly from silly comedy to classic Hollywood melodrama, and all of it feels as artificial and unsatisfying as the cotton candy twirling in a vending cart.
  21. Now You See Me 2
    The sheer amount of people and incident indifferently presented throughout this film suggests only an obligation to quota-filling.
  22. The Little Death
    It's perched uneasily on a fence separating a rote comic sketch film from something weirder, stranger, and less engaged with offering reassuring domestic homilies.
  23. The Last Movie Star
    The film is a collection of old-fogey clichés, with a narrative that mixes a career retrospective with a road trip.
  24. Red Tails
    Where Spielberg has made WWII a venue for his sanctimonious side, a platform to convince viewers that war is indeed hell, Lucas is still in a state of pre-adolescent fascination with the conflict.
  25. Burke and Hare
    Broadness this indolent hardly even stirs one to antipathy.
  26. London Town
    The film evinces a clear-eyed sense of the limits that a capitalistic society places on its working class.
  27. Austin Found
    The conspicuous means by which Will Raee stacks the deck against Leanne, the real victim of this story, is matched only by a moral grandstanding that seeks to condemn rather than understand the character’s decisions.
  28. In the Tall Grass
    Vincenzo Natali’s film divests itself of stakes in the name of total meaninglessness.
    • 46 Metascore
    • 50 Critic Score
    The Broken Tower
    It’s tonally flat and a little too impressed with its own elliptical construction. Yet there’s something about Franco’s desire to escape the straitjacket of the biopic’s pat psychologizing and greatest-hits structure that makes his film feel at least honest in its missteps.
  30. Evangelion: 2.0 You Can (Not) Advance
    Evangelion 2.0 evolves the original show’s central conceit of being alone together with other people in leaps and bounds. The problem with that is: Neon Genesis Evangelion was never a leaps-and-bounds kind of show.
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