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. Icarus
    A routinely assembled mélange of provocative material consistently undone by its maker's perplexing need to foist himself into the center of every conversation.
  2. Wind River
    When Taylor Sheridan is left to his own devices, his work seems more abrupt and shallow, no more so than when he resolves all of this film's lingering questions in one unremittingly nasty sideswipe of a flashback.
  3. Daddy's Home 2
    The film portrays parenting as the death of manhood, a final surrender to the castrating effects of domesticity.
  4. Viceroy's House
    The only thing that offsets the film's self-negating revisionism are the scenes involving Gillian Anderson vicereine.
  5. Sand Castle
    Unwittingly perhaps, the film reveals itself as a microcosm of America's foreign policy in the Middle East.
  6. 47 Meters Down
    Like Lisa and Kate’s pendular swings between hope and despair, Johannes Roberts’s film can’t help alternating between the genuinely terrifying and the just plain dumb.
  7. School Life
    School Life is unfortunately committed to keeping its subjects, especially Headfort’s students, at arm’s length.
  8. Little Boxes
    The film's default mode is to lazily skewer suburbanites as cartoonishly privileged yuppies.
  9. Naked
    Right from the very beginning of Rob’s cruel cycle that sees him repeatedly returning to the floor of that elevator every time the church bells at his wedding begin to ring, Naked besmirches the reasons that Groundhog Day's Möbius-strip construction worked.
  10. Private Life
    Instead of offering a probing, nuanced view of the burgeoning technologies and sciences involved in this relatively new outgrowth of the OBGYN industry, though, Tamara Jenkins uses her setting as fodder for lame and discomfiting physical comedy.
  11. Skyscraper
    Dwayne "The Rock" Johnson is the true Tower of Babel, the movie star who with each film gets closer to God and whose films always come tumbling down around him.
  12. The Current War: Director's Cut
    The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
  13. Wish Upon
    The only wish that ends up satisfyingly granted is, in Wish Upon's final and utterly predictable tableau, the audience's.
  14. Suburbicon
    Suburbicon sees a bunch of candidly left-leaning movie stars doing their best to out-awful each other.
  15. UglyDolls
    What’s self-worth in the 21st century without a dollar amount attached to it, and what value does UglyDolls have if kids aren’t walking out of the theater nagging their parents for toys of their favorite characters?
  16. Rampage
    Unlike 2014’s Godzilla, which benefited from director Gareth Edwards’s patience with the Jaws-style slow burn, RAMPAGE is all noise without crescendo.
  17. Goodbye Christopher Robin
    A sweet ode to childhood innocence turning sour upon its introduction to the public is an intriguing notion, but Simon Curtis incomprehensibly crams the events of Christopher’s early childhood stardom, his difficulty coping with the ubiquity of his namesake’s legacy, and his ultimate defiance of his father into less than one-third of the film.
  18. Dark Phoenix
    The film is an all-too-fitting whimper of a conclusion to a franchise that never remotely fulfilled its potential.
  19. Flower
    Flower is a sentimental work of faux nihilism, pandering to children who’re just discovering alienation.
  20. Camera Obscura
    The filmmaker has a bad habit of dropping the psychological inquiries to dully go through the genre motions.
  21. Welcome To Marwen
    The whole endeavor feels like a disservice to Mark Hogancamp’s story, in no small part because no one in the film feels human, even outside doll form.
  22. Whitney: Can I Be Me
    It's no surprise that Nick Broomfield finds little use for the moments of unabashed triumphalism in Houston's life, as he's doggedly fixated on the humiliating swan dive.
  23. The Midwife
    If not for its performances, the film would belong in the category of Hallmark Channel tearjerkers.
  24. 24 Hours to Live
    Brian Smrz never contrasts the film’s violence with stillness, allowing the audience to enjoy a sense of foreboding escalation.
  25. How to Talk to Girls at Parties
    The film's tagline goes “Talk to the girl. Save the world,” but at no point does Earth's fate hang in the balance, and talking to Elle Fanning's Zan is no great challenge for anyone.
  26. The Breadwinner
    Cross-dressing in the story is merely a tool for survival, but such border-crossing is inevitably rife with unintended consequences beyond narrative ones.
  27. My Friend Dahmer
    The film wants to treat Jeffrey Dahmer like a character, but it invariably frames him like a specimen.
  28. Gringo
    The circuitous narrative of Nash Edgerton's Gringo is such that it never allows for a character or storyline to develop in a particularly efficient way, as every few minutes an abrupt twist or turn sets things off in a new and unexpected direction.
  29. Forever My Girl
    Forever My Girl makes one wonder if Bethany Ashton Wolf actually thinks this is what true love is like.
  30. The Boy Downstairs
    Endeavoring to give us a post-mumblecore spin on Annie Hall, writer-director Sophie Brooks seemingly fails to understand what made Woody Allen's film so appealing: its rich, multi-faceted characterizations.
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