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. Death Note
    Whereas the more grounded scenes of Death Note anchor a startlingly bloody fantasy of power run amok, the scenes that fixate on super powers and code-busting seldom manage to rise above the realm of serviceable YA fiction.
  2. The Iron Orchard
    Director Ty Roberts’s film is unable to realize that its subject matter is that of a horror story.
  3. Backtrack
    The film is the cinematic equivalent of watching a Rubik's Cube noisily solve itself for 90 minutes.
  4. Glass
    M. Night Ghyamalan’s film is aimed at an audience from whom he cringingly craves fealty.
  5. Dealin' with Idiots
    The film is reduced to a series of unfunny mockery laid out so Garlin can display his trademark deadpan reaction.
  6. Into the Grizzly Maze
    David Hackl often shoots his bear in fashions that accent its lumbering, powerful grace, even during its death rattle.
  7. 47 Meters Down: Uncaged
    The film more or less keeps things efficiently moving, wringing white-knuckle tension less through jump scares than from the darkness of a seemingly infinite void.
  8. Anaconda
    Regrettably, the one star of Anaconda that gets the shortest shrift is the most important one: the snake.
  9. Cruising
    Its truly unnerving quality is that its existence is a brutal reminder from the past that homosexuality is not heterosexuality, and that any attempt to reconcile the difference will only breed resentment, confusion, and violence. Or perhaps it will only lead to more lame Hallmark movies of the week like Brokeback Mountain.
  10. Office Christmas Party
    Josh Gordon and Will Speck's Office Christmas Party generally smacks of trying too hard to earn its laughs.
  11. Snow Flower and the Secret Fan
    Despite gestures toward modernity and clumsy humanism, the film feels regressive, presenting a version of modern China that's as much of an anesthetized fairy tale as its costume-drama past.
  12. Stuber
    More than its violence, the film is defined by its vileness, its straight-faced attachment to outmoded ideas about masculinity and law enforcement.
  13. Swerve
    A confident and exciting genre film, and that's certainly not nothing, but it has a slight impersonality that marks it as either a calling card or a work for hire.
  14. The Divergent Series: Insurgent
    A Little Golden Book version of drastically simplified socialism accompanied with a healthy dose of warmongering bravado.
  15. Loving Pablo
    The film uncomfortably dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
  16. Needle in a Timestack
    The film is too blinded by manufactured sentimentality to see the more compelling what-if scenario lying right in front of its eyes.
  17. I Know What You Did Last Summer
    Late in this reboot, a character states “Nostalgia is overrated,” and it feels like an indictment of the film we’ve been watching. Far from making a case for the original I Know What You Did Last Summer as one with its own identity and a legacy worth turning over, Robinson’s update is so cynically made and self-indulgent that it will at least leave you respecting the workmanlike scare-making that director Jim Gillespie brought to the 1997 film.
  18. Raising Cain
    Rather than clarifying, De Palma’s technique with Raising Cain effectively obliterates the audience’s bearings. Which gives the film’s final sequence—on the surface a shameless swipe from Dario Argento’s killer reveal at the climax of Tenebre—a nasty twist.
  19. The Adderall Diaries
    It's too busy skipping through subplots to do much more than gloss over such heady issues as the fundamental subjectivity of truth and self-identity.
  20. Locked Down
    Had the filmmakers taken a more easygoing approach, Locked Down might have landed in the realm of The Thomas Crown Affair.
  21. Won't Back Down
    One of its strengths is a knowledge of when to unfurl information, particularly for the strongest emotional effect.
  22. Transcendence
    If you programmed an algorithm to figure out how The Lawnmower Man might be retold by Snake Plissken at the conclusion of Escape from L.A., you'd still wind up with a more recognizably human effort.
  23. 24 Exposures
    Throughout, Joe Swanberg connects Generation Y's fetish for past pop-cultural kitsch to its attending sexual insecurities.
  24. Ironclad
    By making John such an unrepentant freedom-opposing monster, Ironclad denies itself any moral thorniness.
  25. The Internship
    Shawn Levy's occasionally uproarious, warm-hearted comedy is about different generations educating each other, but it never seems rote.
  26. Overboard
    All of the broad physical humor in the world can't distract from the fact that the film is an endorsement of psychological exploitation.
  27. Mister America
    What’s so fascinating about the world of On Cinema is the way each creative outgrowth expands and deepens the lore, and Mister America’s universe-specific innovations renders the film indispensable in context.
  28. Lazer Team
    The premise thoughtlessly combines elements from Marvel comics, Men and Black, and a swath of '80s pop culture to curiously neutered effect.
  29. Aquaman And The Lost Kingdom
    The film hits its plot milestones as fast as humanly possible, cohesion or depth be damned.
  30. The Ice Road
    The film is a muddle of clichés and unremarkable action sequences that bleed together into a cacophony.
Page:

Top Trailers

See all »
See all trailers »