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. Courageous
    Even the logos for the companies involved in its making (Sherwood Films and Affirm Films) and distribution (TriStar Pictures) scream that this will be a message from on high.
  2. The Woman in Black 2: Angel of Death
    The film ends up cheapening its sense of empathy in its final mad rush to subject audiences to every incarnation of the jump scare imaginable.
  3. King Arthur: Legend of the Sword
    For all the attempts to update King Arthur to be cool and sexy, neither the character nor the film around him musters any spark.
  4. Clue
    Clue is comfortable with its pedigree, even giddily enthused by it, which gives its creators freedom to produce not a nostalgic entertainment, but a sustained and sincerely old-fashioned entertainment, laced with wicked miscreancy.
  5. The Chameleon
    If Barkin and Grondin create a swamp's worth of deceptive intricacies in their moments together, the rest of the cast is regulated to expository mop-up duty.
  6. Journey 2: The Mysterious Island
    Prizes computer-generated wizardry above logical plotting or thoughtful character development, a misguided set of priorities exacerbated by the fact that said digital effects prove so chintzy.
  7. Larry Crowne
    At least Roberts has some star wattage to burn; her megawatt smile is the only thing that ultimately pierces, however faintly, the film's blinding schmaltz.
  8. Fear Street: Prom Queen
    Like its predecessors, the film is an often awkward mix of YA drama and R-rated gore.
  9. Memory
    Martin Campbell’s film never shakes off its familiarity, and as such seems destined to, well, be lost to public memory.
    • 41 Metascore
    • 12 Critic Score
    War of the Buttons
    By the time the drama is wrapped up with a bow and every child has learned a valuable life lesson, even the gap-toothed little tyke there solely for comic relief has begun to grate.
  11. The Sorcerer and the White Snake
    The film looks so glossy, plasticized, and unreal that all you end up thinking about is special effects.
  12. What to Expect When You're Expecting
    Mostly the movie's varied storylines cough up the same platitudes: being pregnant sucks, having young children is a misery, but it's all worth it when you're holding that newborn in your arms.
    • 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.
    • 41 Metascore
    • 50 Critic Score
    Back to 1942
    In painting a large-scale tableaux of the Henan disaster, Feng Xiaogang has inevitably been forced to sacrifice the specificity and focus on individual characterization that are generally so important for allowing the viewer a point of entry into such an important piece of history.
  15. Black Adam
    The film has the courage of its convictions, suggesting that violence on behalf of an oppressed people isn’t only justifiable but even moral.
    • 41 Metascore
    • 50 Critic Score
    G.I. Joe: Retaliation
    Instead of long takes, which are lovingly utilized in Step Up 3D, Jon M. Chu opts for increasing volatility in the editing room.
  17. Waxwork
    Waxwork is certainly no hidden horror gem, but its flashes of wit and genuine enthusiasm for the horror genre are enough to make it a reasonably enjoyable time.
  18. Superintelligence
    The big disappointment of the film is that Melissa McCarthy’s performance is all Jekyll and no Hyde.
  19. Cinderella
    With an overload of winking, Kay Cannon’s Cinderella displays a contemptuous attitude toward fairy tales in general.
  20. Asthma
    Asthma inevitably becomes another film about a man airing out his traumas and hitting all the requisite marks on his path to healing.
  21. Machete Kills
    The films that Robert Rodriguez emulates here are known for similar unexpected narrative turns, but the crucial value that he misses is their actual cheapness.
  22. False Confessions
    The film is a trim farce with no blood flowing under its skin, as it’s all construction, setup, and payoff.
  23. Consecration
    Consecration ends up not just gimmicky but derivative of Christopher Smith’s own prior work.
  24. Battleship
    Shamelessly mimics Michael Bay's larger-than-life dialogue, sweeping cinematography, cornball romance, and military fetishism.
  25. Venom: The Last Dance
    As the film progresses, it consistently escalates the stakes and scale of its action, which doesn’t devolve into incomprehensible CG murk as it hurtles toward the climax.
  26. Marlowe
    Neil Jordan’s Marlowe is an homage so riddled with noir clichés that one may initially take it for a genre parody, except that the jokes never arrive.
  27. Struck by Lightning
    A class-five pity party so unbearably condescending and unconvincing that it might just make you run out and buy an "I'm With Mitt" t-shirt, it makes an inadvertent but hugely compelling pro-bullying argument.
  28. In the Lost Lands
    The film provides Paul W.S. Anderson with a sturdy canvas for his unique brand of gaudy, campy cool.
  29. The Purge
    A rote home-invasion thriller afraid to be seen as just another rote home-invasion thriller, the film turgidly grasps for profundity by framing bloodlust as patriotic duty.
  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.
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