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 Brand New Testament
    At first, the film’s dark humor is amusing, only for it to wear off once an actual plot kicks into motion.
  2. The Bye Bye Man
    Stacy Title’s film ends up succeeding most deftly as an advertisement for on-campus housing.
  3. Synchronicity
    Writer-director Jacob Gentry's film has the emotional fatuousness of uncertain softcore erotica.
  4. Dunkirk
    In devoting so much time to the dull, counterproductive mechanics of the action assembly, Dunkirk dispenses with nearly all other elements of drama.
  5. Intruders
    The film ultimately boils down to people bludgeoning one another in unimaginative close-ups.
  6. Forsaken
    The film adheres to the dictionary definition of a classical genre without ever attempting to subvert it.
  7. Backgammon
    The imagery fails to express either the characters' or the filmmakers' obsessions or synchronicities.
  8. Marguerite
    Xavier Giannolli consistently glosses every sequence with a stagey kind of humor, and at the main character's expense.
  9. Everybody's Fine
    It joins its American cousin in the scrapheap of family dramedies that no one watches, unless by default out of boredom on TBS or TNT.
  10. Desierto
    Any perceptive dialogue or contemporary socio-political subtext is pummeled by Jonás Cuarón’s preference for empty genre thrills.
  11. Frank & Lola
    The film occasionally benefits from the weird energy shared between Michael Shannon and Imogen Poots.
  12. Miracles from Heaven
    Situations and people are sketched out too lightly to leave an emotional trace.
  13. Fast X
    Being as this is the first of a possibly three-part finale, Fast X’s sense of fun is constantly deflated by all the table-setting.
  14. Five Nights in Maine
    Maris Curran never reconciles the film's impulse to interiority with its weakness for hothouse melodrama.
  15. A Hologram for the King
    Remarkably faithful, except in how it rather boldly transforms Dave Eggers's drama into a broad comedy.
  16. Hands of Stone
    The Panamanian-born Roberto Duran's story has all the makings of a fascinating film, but Hands of Stone isn't it.
  17. Going in Style
    No one in Going in Style seems to really know what the hell they’re doing or why. And even though that goes double for the filmmakers, at least no one succumbs to taking any of it seriously.
  18. Holy Hell
    It hopes to jolt audiences with OMGs instead of edifying them about the empty lure of Buddhafield's cult mentality.
  19. The Meddler
    Writer-director Lorene Scafaria's film is an unconvincing character study that plays like a painfully unfunny sitcom.
  20. The First Monday in May
    Andrew Rossi pays sporadic lip service to recognizing cultural specificity before returning to his star-gazing ways.
  21. Holidays
    Every short exudes a commercially slick anonymity that effectively flattens any potential excitement.
  22. Special Correspondents
    Ricky Gervais's film hopscotches through a variety of premises, looking for jokes that never arrive.
  23. Clown
    Jon Watts does nothing with the scarily funny notion of a respectable professional who suddenly refuses to shuck a party costume.
  24. Standing Tall
    The film quickly devolves into a contemptible, exploitative presentation of sociological matters.
  25. Puerto Ricans in Paris
    The film simply limps to predetermined truths that hypocritically advocate the maintenance of placid family values.
  26. Pelé: Birth of a Legend
    The beautiful game, as Pelé called football (or soccer to us Americans), has never felt like such a sedate slog.
  27. Cell
    The film insufficiently connects the book's prophecy with its present-day, real-world forms of realization.
  28. American Pastoral
    Ewan McGregor’s inert adaption smooths out the Philip Roth novel's eruptions of self-loathing and doubt.
    • 53 Metascore
    • 38 Critic Score
    Approaching the Unknown
    The film fails to lay down the character foundation that might have elevated the third-act histrionics.
  30. Bridgend
    The film, with its dark-blue-hued cinematography and murky music, is all foreboding atmosphere.
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