Slant Magazine's Scores

Select another publication »
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
view
per page
  1. Hostiles
    Scott Cooper's film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
  2. Jackals
    Though far more elegant in execution than most Rob Zombie-imitating films, Jackals smugly wears its violent tediousness as a badge of honor.
  3. Mark Felt: The Man Who Brought Down the White House
    Mark Felt is a kind of hagiography, and it leans toward whitewashing its subject's legacy, which extends even to the man's illegal break-ins and wire-tapping of the leftist activist group the Weather Underground.
  4. Borg vs. McEnroe
    Even the depiction of how both men waver during the Wimbledon final — of Borg losing his cool while McEnroe avoids succumbing to petulance — fails to tie into the larger portrait of their rivalry.
  5. The Children Act
    The Children Act stages the clumsiness of belated domestic confrontations with the very coldness that’s kept its characters from having discussed their emotions for decades and from having had sex for almost a year.
  6. Loving Pablo
    The film uncomfortably dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
  7. Racer and the Jailbird
    The film comes to concern a selfless martyr before morphing, most absurdly, into a disease-of-the-week tearjerker.
  8. Assholes
    It begins as a clever pseudo-mumblecore provocation with shades of Bruce LaBruce only to quickly turn into indefensible nonsense.
  9. The Tribes of Palos Verdes
    The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.
  10. Crooked House
    Gilles Paquet-Brenner's film is ultimately a genre item that operates on alternately prestigious and campy autopilot.
  11. The Strange Ones
    The film's mixture of sensationalism and self-conscious artiness is experimentally disingenuous at best.
  12. Dream Boat
    If the global reunion that the cruise ship presents here is such a panacea, why is there so much moping?
  13. Blame
    In attempting to grapple with issues of bullying, mental health, burgeoning sexuality, and pedophilia, the film bites off more than it can chew.
  14. Benny's Video (1992)
    Benny’s Video is a smug, contemptuous, passive-aggressive attack on the dehumanizing effects of media, without even the common decency to offer shrill sensationalism to punch up its subsequently feckless, reactionary, pomo assertions.
  15. Saturday Church
    Writer-director Damon Cardasis follows a rather didactic approach to his 14-year-old's protagonist's plight in Saturday Church.
  16. Voyeur
    It's hard to come away from the film feeling anything but disdain and a twinge of embarrassment toward Gay Talese.
    • 41 Metascore
    • 38 Critic Score
    Crocodile Dundee II
    The sequel exacerbates problems already too evident in the first movie, most painfully the near-total disposability of Kozlowski’s Sue, who spends most of the time reacting to Mick’s quirks with chuckles. No battle of wits, no rejoinders. Sue accepts Mick’s ways wholesale; there’s never any hint at a possible tension between their lifestyles.
  18. The Dancer
    Like Loïe Fuller's serpentine dance, the film is structured on repetition: spinning and spinning but never actually taking us nowhere.
  19. 7 Days in Entebbe
    The conflation of historical complexities makes for cheap pathos throughout, complete with weeping mothers and the seemingly endless dredging up of the terrorists' obvious moral equivalence.
  20. Mortal Engines
    After a while, it all starts to feel like a showreel for the film’s special-effects team than an honest effort to tell a story.
  21. Inside
    At best competently mounted and at worst a case study in watering down chaos for an American market.
  22. Entanglement
    Ben doesn't deserve our sympathy, in part for how noxiously the film has imagined the female characters who surround him.
  23. Beuys
    The film fails to seriously address Joseph Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe.
  24. Come Sunday
    In the film, Joshua Marston leaches the narrative of nearly all the social texture that infused and empowered “Heretics,” the 2005 episode of the This American Life podcast that inspired this biopic.
  25. Nostalgia
    Mark Pellington's Nostalgia is less a living, breathing film than a presentation of sentiments revolving around a pat question: Are the objects of our lives merely detritus, or are they vital to our identities?
  26. Blumhouse's Truth or Dare
    Director Jeff Wadlow's Truth or Dare is a startlingly mean-spirited but otherwise dimwitted horror film.
  27. The Darkest Minds
    The Darkest Minds never communicates the overwhelming horror of a society whose children are either dead or in the process of being exterminated, or the hopelessness of kids discovering that every potential benefactor may have ulterior motives.
  28. Ophelia
    Transforming Ophelia’s abuser into a helpful co-conspirator hardly seems like the most daring feminist reading of Hamlet.
  29. Vazante
    Daniela Thomas seems stymied by her own images, unable to extract the turmoil and violence suggested by her story for fear of upsetting the austere surface harmony of her visuals.
  30. The Female Brain
    The Female Brain never seems quite sure whether it wants to probe the depths of its title subject or just make us laugh. And given the shallowness of its quasi-scientific blather and the tepidness of its comedy, it ultimately does neither.
Page:

Top Trailers

See all »
See all trailers »