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. The Flowers of War
    This film has too many weak, unconnected strands (what's the subplot about the narrator's father doing here anyway?), too much overtly expositional dialogue, and too unfocused a narrative to really cohere. And then there's that whole matter of expendable whores.
  2. Ballad of a Small Player
    The film’s ambivalent perspective on the greed and glitz of its protagonist’s world makes it difficult to invest much care in what happens to him.
  3. Dr. Seuss' The Lorax
    The Lorax is a modest gem, failing to significantly enhance its source material's ideas but still delivering a zany, rollicking, multi-character version of Seuss's environmental cautionary tale.
  4. My Spy
    Peter Segal’s film is pulled in so many different directions that it comes to feel slack.
    • 46 Metascore
    • 38 Critic Score
    The Super Mario Bros. Movie
    The film feels like it’s content to check off to-do notes and scratch the viewer’s nostalgia itch.
  6. The Oranges
    As much as the dialogue in the film voices an attitude of self-liberation and champions the positives of severing accepted social constraints, it seems to be constantly taking one step forward and two steps back.
  7. We Are Your Friends
    As Zac Efront's Cole tiptoes away from his past, the film keenly observes a character who doesn't know how to secure his future, or his identity.
  8. Ashby
    The film displays little ability to utilize Ashby's violent actions for means other than high-concept fodder and out-of-place bloodshed.
  9. Extremely Loud and Incredibly Close
    This film buries its soul beneath its own pretentious rubble, and the youthful, labyrinthine mind in which it places viewers feels less like an offbeat vehicle for healing than it does a kaleidoscopic prison.
  10. Immortals
    Dashing across the screen in all its bloody, gilded glory, the awesome and beautiful Immortals marks an all-win scenario.
  11. Habermann
    Habermann may not be a pragmatic classic of the "Army of Shadows" mold, but it falls within the upper-mid bracket of WWII movies because it doesn't attempt to understand or define the tragedy it approaches.
  12. Mirror Mirror
    For all its pomp and fabulosity, Mirror Mirror is actually Tarsem Singh's most minimalistic effort, a dialed-down game board of elaborate pieces that's akin to the human chess set captained by Julia Robert's evil Queen Clementianna.
  13. El Chicano
    Throughout, the film peddles notions of self-realization and self-actualization that feel nothing short of moth-eaten.
  14. The Calling
    The premise of faith-based assisted suicide as a motivating factor for a madman's killing spree is initially intriguing, but quickly revealed as solemn window dressing.
  15. The Addams Family
    Until the finale, the film tirelessly hammers home the importance of being true to yourself, yet its ultimate resolution, one of relatively uneasy compromise, confuses even that simple point.
  16. Johnny English Reborn
    As ticklish as one might find the idea of an equivalent Mr. Bean character occupying the driver's seat of a James Bond parody, it's likely that even a competent manifestation of such a scenario would pale in comparison to what Mike Myers and Jay Roach pulled off with apparent ease in their Austin Powers films.
  17. Hunky Dory
    Director Marc Evans's monotonous style keeps the film earthbound.
  18. Rebecca
    The film is a pretty bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion.
  19. You Should Have Left
    David Koepp is a fatally un-obsessive craftsman, one who’s fashioned a horror film that resembles a tasteful coffee table book.
  20. Unlocked
    With its dull mixture of indifferently staged exposition and action, it suggests a primitive side-scrolling video game.
  21. Book Club: The Next Chapter
    The film is devoid of serious conflict, yet it hits with unexpected feeling.
  22. Honey Don't!
    The film is paced in such a languid, dreamy way that it’s hard to get a grasp on how each scene connects to the larger themes or the larger mystery until fairly late.
  23. Ghostbusters: Frozen Empire
    There are protracted moments of humor, fright, and pathos in Frozen Empire, but as it’s all so scattershot and disconnected, the film ends up being defined by its lack of conviction when it comes to exploring its ideas to the fullest.
  24. Rosebush Pruning
    Only cheap shock value can be gleaned from the film’s cavalcade of blood, semen, animal carcasses, dick pics, and erotic toothbrushing.
  25. Reminiscence
    Reminiscence’s noir adornments inadvertently feel closer to parody than loving homage.
  26. Sin City: A Dame To Kill For
    Whereas a single, stinging one-liner would have sufficed Jacques Tourneur or Fritz Lang, Frank Miller's overcompensating flood of pulpy dialogue only renders his characters flat and sans empathy.
  27. The Comedy
    Tim Heidecker's Swanson does not amuse us in spite of the pity he inspires but because of it.
  28. King Arthur
    Revisionist mythmaking of the most bland variety, the Jerry Bruckheimer produced King Arthur purports to tell the true tale of the ancient British hero and his valiant Knights of the Round Table by stripping away the magic, mystery, and majesty of the fable and replacing it with grim n' grimy realism.
  29. Dance First
    Rather than grappling with the mind and soul of the man who birthed bizarre, fatalistically funny and existentially unsettling works like Waiting for Godot, James Marsh’s film seems content to merely adapt the “Personal Life” section of Samuel Beckett’s Wikipedia page.
  30. The Nun
    The Nun is the cinematic equivalent of a Conjuring-inspired maze at Halloween Horror Nights at Universal Studios.
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