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 Queen of Spain
    Fernando Trueba fails to probe the political implications of The Queen of Spain's period milieu, which is particularly confounding given the filmmaker’s evident anti-fascist sympathies.
  2. Detour
    The effect of the film becomes not unlike watching a puzzle solve itself without demanding either the audience’s emotional or intellectual investment.
    • 46 Metascore
    • 38 Critic Score
    Back in Action
    Seth Gordon’s film is largely, and awkwardly, beholden to the most banal of spy tropes.
  4. IF
    The most charitable read on John Krasinski’s IF is that using your imagination shouldn’t be bound by traditional story structure, so why should a film about unfettered imagination need the same?
  5. Instant Dreams
    While the film offers an appealingly nostalgic trance-out, it’s often short on detail, especially in terms of Stephen Herchen’s struggle to create the instant film technology, which director Willem Baptist reduces to exchanges of jargon in atmospheric laboratories.
  6. Honest Thief
    The repetitious plot is more ritual than text as we watch yet another Liam Neeson avenger defy the will of younger, unscrupulous men.
  7. Wolves
    Bart Freundlich alternates somewhat arbitrarily between his various plots, leaving a lot of loose ends in the process.
  8. The Watchers
    Pacing is a conspicuous problem and the rushed third act threatens to crumble as The Watchers becomes overloaded with revelations and mythology that strain a foundation barely braced to hold their weight.
  9. Every Secret Thing
    It has a problem that's familiar to competently made, sporadically involving crime procedurals: It's just good enough to inspire wishes that it were better.
  10. Stung
    The filmmakers maintain a tone that's mostly ideal for the contemporary equivalent of a drive-in movie: of reverent, parodic irreverence.
  11. Second Act
    A blatantly telegraphed mid-film twist helps turn Second Act into one of the strangest and most misguided rom-coms of any year.
  12. Fun Mom Dinner
    The film is lazily content to simply put its female characters through the potty-mouthed, gross-out comedy ringer.
    • 46 Metascore
    • 63 Critic Score
    U.N. Me
    U.N. Me isn't all sneering, and it certainly makes its points.
  14. The Oregonian
    It's the kind of movie you'd find in someone's VHS collection, decide to watch based on the box art and title, and end up switching out for "The House of the Devil" instead.
  15. The Burning Sea
    The film drops any interest in the blurring of fact and fiction as it settles into a rote account of a contemporary oil rig catastrophe.
  16. Killing Bono
    Rather than organically develop its characters, it charts their evolution via silly outfit changes, treating the early '80s as a costume bin for flavor-of-the-week aping gags, with the band going from Gary Numan style shirts and skinny ties to lavish glam-rock costumes.
  17. Held
    The film doesn’t quite cut to the heart of the socially nurtured fantasies that splinter men from women.
  18. Destination Wedding
    The way Destination Wedding uses misanthropy to augment screwball tropes ends up being its undoing.
  19. Life of the Party
    Novelty and Melissa McCarthy’s comedic chops only carry Life of the Party to midterms, and it soon becomes apparent that it’s a star vehicle without any engine.
  20. Come and Find Me
    Aaron Paul possesses an innate everyman quality that lends itself well to writer-director Zack Whedon's film.
  21. The Devil and Father Amorth
    The Devil and Father Amorth is a flimsy stunt, but in his blunt, slapdash way, William Friedkin locates the intersection existing between religion and pop culture—a fusion that insidiously steers political currents.
  22. Samaritan
    Perhaps the fairest description of Stallone’s performance is that it’s only as one-note as the material, his stern tough-guy muttering and grimacing just about right for a screenplay that feels like it’s been plucked out of a dustbin left untouched since 1995.
  23. [REC] 3: Genesis
    If a fourth entry wasn't already in the works, [Rec] 3: Genesis could have easily represented the nail in the franchise's coffin.
  24. Tracers
    The lusterless camerawork keys itself almost empathetically to the drab reality of the film's spaces, settled and unsettled alike, but it can't enliven the hackneyed plot.
  25. Pain & Gain
    An outrageous based-on-real-life tale that's perfectly suited to director Michael Bay's insanely overblown stylistic and thematic temperament.
  26. Straw Dogs
    Despite Lurie's part-time efforts to lend the film some sense of place, the impulse to hot-ify everything from Peckinpah's considerably more earthbound original ultimately outpaces his meager good intentions.
  27. Black or White
    Kevin Costner scowls and darts around the dubious thin line between "racism" and un-sugarcoated "truthfulness" that only anti-P.C. wingnuts actually believe exists.
  28. A Night in Old Mexico
    Red is the kind of lazily written, thankless curmudgeon role that uses the trials of advanced age for cheap laughs rather than harnessing a veteran actor's talent to engage our empathy.
  29. Coldwater
    It comes as no surprise that writer-director Vincent Grashaw wrote the first draft of this movie soon after graduating high school.
  30. The Tomorrow War
    The Tomorrow War is little more than a clunky, Nolan-esque exercise in instruction-manual cinema.
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