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. If I Stay
    The film, based on the novel by Gayle Forman, is an almost deliberate confirmation of Alison Bechdel's claim that women in film are so often shown only in relation to men.
  2. Don't Breathe 2
    The film’s gore is just as likely to invoke fear as to serve as a killer punchline to one of Rodo Sayagues’s set pieces.
  3. Damsel
    At its best, Damsel suggests a dark fantasy riff on Neil Marshall’s The Descent.
  4. Musical Chairs
    The schmaltzy and benign tale of a ballroom dancer who accepts and transcends her unexpected disability through the power of art and love.
  5. Fifty Shades of Grey
    Jamie Dornan somehow manages to render his sculpted beauty moot, which throws a major wrench in the gears for a film dependent on eroticism.
  6. Rebel in the Rye
    The whole affair suggests dramatic Tetris, and it leeches the artist and his process of any mystery.
  7. Shotgun Wedding
    The film has a rather perfunctory feel, as if it were unwilling to go all in on its ludicrous concept.
  8. The Good Catholic
    Despite The Good Catholic‘s interesting macro approach compared to other films of its ilk, it’s far less successful on a micro level.
  9. Play Dirty
    Shane Black’s film plays like a misguided action extravaganza from the 1980s.
  10. The Whole Truth
    The filmmakers are so disengaged from the psyches of its characters that The Whole Truth ultimately plays as little more than the cinematic equivalent of a trashy airport novel that will grip you in the moment before it dissolves from memory immediately afterward.
  11. Capone
    Every scene is virtually self-contained, and so Capone feels as if it’s starting all over again from frame to frame.
  12. Earwig and the Witch
    The problem with Earwig and the Witch has more to do with its confused plotting than its more or less serviceable animation.
  13. Mortal Kombat II
    Mortal Kombat II is done waiting around. It’s ravenous to get down to bloody business.
  14. Reversion
    While Reversion sets up a complex communication platform for a universe being slowly ripped apart, it doesn't know how to relate this idea in human terms.
    • 46 Metascore
    • 50 Critic Score
    New Jerusalem
    Unlike the soul-searching characters from Old Joy, which also stars Will Oldham, Ike and Sean always feel as if they've fallen out of the sky just for the film's setup.
  16. Horns
    For a story so unconventional, it's executed without director Alexandre Aja's typical commitment to anarchic awe.
  17. Intrepido: A Lonely Hero
    Gianni Amelio bogs down into a family drama that's neither supplementary to the film's initial quest or a fulfilling substitute.
  18. Two Shots Fired
    The lack of tangible dramatic follow-through leaves the film feeling incomplete, indistinguishable from so much other undercooked festival fare.
    • 46 Metascore
    • 63 Critic Score
    The Meg
    Jaws works as both a horror film and a human drama. The Meg doesn't aspire to the earlier film's pathos (its flagrant callbacks to Jaws draw attention to how grotesquely adolescent it is by comparison), but that's because it's above all else a movie-star vehicle, and it succeeds on that front.
  20. A Man Called Horse
    Touted at the time of its release as a comparatively enlightened western, A Man Called Horse now looks like well-researched sensationalism—and is, admittedly, all the better for it.
  21. Joker: Folie à Deux
    In grappling with the implications of its story, Folie à Deux’s every attempt at showcasing cleverness, verve, or engagement is held cruelly underwater by staid direction, shoddy emotional plotting, a gleeful sense of cruelty, and a grave nihilism that makes Zack Snyder’s work seem like a season of Bluey.
  22. Dolly
    One senses that Rod Blackhurst knows that Dolly is undernourished, but his attempts to jazz it up by splitting it into transparently titled chapters only calls further attention to that dearth of imagination.
  23. Project X
    Awesomeness seems to be the chief quality prized by both the film and its characters; all other considerations--like safety, property damage, and especially good taste--are secondary.
  24. Another Happy Day
    Hell is family in Another Happy Day, a portrait of one clan's reunion for a wedding that overflows with characters even more repugnant than the irony of its groan-worthy title.
  25. American Mary
    The filmmakers certainly exaggerate (i.e. exploit) their subject, but for a community that prides itself on shock value, there seems no sufficient alternative.
  26. The Last Days on Mars
    The film's visual construction is spare, drawing power from its locations and quietly matted miniatures, though ultimately it succumbs to powering a series of cheap thrills.
  27. The Upside
    The film becomes overrun by an increasingly preachy and tiresome series of life lessons about race, class, and love.
  28. The Magic of Belle Isle
    This gooey reteaming of Rob Reiner and Morgan Freeman is crammed tight with baldly manipulative elements, its tearjerker quota busting at the seams.
  29. The Public
    The film is a clunky, overwritten attempt to pack as many tortured subplots and pre-chewed sociological insights as can possibly fit into a two-hour runtime.
  30. Dark Glasses
    After a brilliantly constructed opening, Dario Argento’s film gives the impression only of a giallo doodle.
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