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. Kidnapping Mr. Heineken
    For all the thematic emphasis the script ultimately places on the allegedly thick bonds among these men, it's surprising how often they communicate solely through exposition.
  2. Queen and Country
    The film lacks an ability to construct significant instances of character drama as symbolic of larger concerns pertaining to nationalist dilemmas.
  3. The Boss Baby
    Every Republican regime gets the ludicrous devious-baby saga it deserves.
  4. Concussion
    The tacky and loose means by which the platitudinous screenplay dances around what ails the story's football players is just one cog in a whirligig of pat representations.
  5. Me and Earl and the Dying Girl
    It unites a mélange of teen-film tropes into a narrative overburdened with cultural references and framing devices, and undermined by a lack of attention to character.
  6. Sleeping with Other People
    This is exactly the kind of movie at which David Wain took aim with his sublime rom-com parody They Came Together.
  7. Z for Zachariah
    The film squanders the promise of its scrutiny into how people recalibrate their sense of morality in times of crisis.
  8. Don Verdean
    If the film is any indication, Jared and Jerusha Hess remain committed to clotting up the screen with ostensibly charming "eccentricity."
  9. Drunk Stoned Brilliant Dead: The Story of the National Lampoon
    It mistakes touch-and-go navel-gazing for comprehension, as if speaking to as many subjects as possible produces an inherently compelling take.
  10. Take Me to the River
    It's difficult to believe in Ryder's gullibility, if not willingness to be caught in his uncle's strange web of provocations.
  11. Ten Thousand Saints
    Even when tragedy strikes early on, the revelation is just another "growing up is hard" dot on the grid.
  12. Mr. Holmes
    Bill Condon ignores the delights and hardships of becoming an artist in lieu of simply presenting the long-touted liberating effects of art.
  13. Blackbird
    The film is, like its main character, too naïve to understand or, at least, to deploy the reparative powers of camp.
  14. The Lady in the Van
    The film's annoying glibness is neatly summarized by the line: "In life, going downhill is an uphill job."
  15. Secret in Their Eyes
    Billy Ray unfurls the parallel time structure with the same flat, procedural monotony applied by Juan José Campanella to the original film.
  16. The Danish Girl
    In so clearly viewing Lili through the lens of 21st-century political correctness, the film only blunts the resolve of her struggle.
  17. Hyena
    The Gerard Johnson film's blanket cynicism is its most shopworn quality of all.
  18. Big Game
    The rambling conversations and endless wandering through nature could let the film pass for a filler episode of Lost.
  19. The Forger
    A sluggish, obvious fusion of a disease-of-the-week tearjerker with a comedic family crime romp that abounds in stiflingly over-emphasized Boston-crime-movie details.
  20. Lily & Kat
    It passive-aggressively seems to suggest that anyone who isn't exactly interested in monogamy may be some kind of selfish, intolerable sociopath.
  21. Our Man in Tehran
    Never is there an Iranian perspective on the proceedings, giving the documentary the jingoistic bent its title implies.
  22. The Founder
    Michael Keaton's powerful performance in The Founder is marooned in a wishy-washy story.
  23. Brand: A Second Coming
    Ondi Timoner's documentary about Russell Brand basically gives the English comedian turned "activist" a free pass.
  24. Ardor
    It broods along as if it's expressing something monumentally important with each slow-as-molasses camera move.
  25. Bravetown
    The filmmakers attempt to acknowledge the pain of warfare within the framework of a redemptive story that lends it an unforgivably patronizing sense of closure.
  26. Learning to Drive
    Instead of using the titular metaphor as a means to seek deeper, darker ends, Isabel Coixet proceeds to restate it over and over again.
  27. Youth
    As ever, Paolo Sorrentino ironically cuts the legs out from under his protagonists' wistfulness with grotesquerie.
  28. Aloft
    The film's images, so continually heartrending so as to never become redundant, effectively function as visual proselytizing.
  29. The Gallows
    The film is sstrictly a high-tech spin on one of those Scary Stories to Tell in the Dark.
  30. Maze Runner: The Death Cure
    Emotional complication is what this film, so abundant in last-minute getaways, fake-outs, and half-hearted nods to the franchise's greatest hits, needed so as to elevate it out of its programmatic torpor.
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