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 Kid
    Its scenes wildly escalate to a fever pitch at the drop of a hat, before then ending, more often than not, with abrupt violence.
  2. The Kindness of Strangers
    The film’s repetitive and lifeless dialogue robs otherwise charismatic performers of distinguishing characteristics.
  3. Dune: Part One
    Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
  4. The Apple
    The Apple is an Old Testament movie in more ways than one, and its relentless bad taste is sure to appeal to the same audience that won’t even realize they’re being slapped in the face.
  5. Body at Brighton Rock
    Appearing to recognize the flimsiness of her material, Roxanne Benjamin overcompensates with insistent direction.
  6. Adopt a Highway
    Viewed charitably, Logan Marshall-Green’s sketchy protagonist and vague atmosphere are meant to achieve the effect of a parable.
  7. Stuffed
    Erin Derham’s unadventurous aesthetic inoculates her from taxidermy’s subversive spirit.
  8. Villains
    Maika Monroe’s engaging performance serves only to highlight how feeble and unconvincing the rest of the film is.
  9. Wall
    So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.
  10. Dreamland
    Miles Joris-Peyrafitte’s ultimately succumbs to melodramatic clichés and simplistic political demagoguery.
  11. My Son
    The film seeks to elevate genre clichés by slowing down the speed with which they’re typically offered.
  12. Being Frank
    The film sends the curious message that that any time an abusive parent spends with a child is time well spent.
  13. My Spy
    Peter Segal’s film is pulled in so many different directions that it comes to feel slack.
  14. The Invisible Man
    Through to the end, you can’t get off on the thrill of this film’s craftsmanship without also getting off on the spectacle of more than just Cecilia brought to the brink of destruction. Like its style, The Invisible Man’s cruelty is the point.
  15. Bottom of the 9th
    Raymond De Felitta’s film offers a sampler course of formulas, which creates a strangely unfulfilling tension.
  16. The Great Hack
    It seems so invested in a rehabilitation of Brittany Kaiser’s image that the filmmakers’ own motives end up being its most interesting subject.
  17. The Addams Family
    Until the finale, the film tirelessly hammers home the importance of being true to yourself, yet its ultimate resolution, one of relatively uneasy compromise, confuses even that simple point.
  18. Last Christmas
    Clarke works hard to make the messy, perpetually flustered Kate relatable, but the film surrounds the character with a community as kitschy and false as the trinkets she sells in Santa’s shop.
    • 52 Metascore
    • 38 Critic Score
    The Amazing Johnathan Documentary
    Over and over, the film reminds us that banking on a gimmick isn’t an adequate substitute for an incisive character portrait.
  20. Black Widow
    In its final moments, Black Widow gives its heroine the humanity she never quite gained in her appearances in prior Marvel films, and it’s a shame that this slight but crucial wrinkle to the familiar morality of so many superhero stories ultimately feels more like a twist than a springboard for a new, more morally enlightened era of the MCU.
  21. Shang-Chi and the Legend of the Ten Rings
    On the screen, Shang-Chi is rotely defined by the same “gifted kid” impostor syndrome as so many other self-doubting MCU heroes before him.
  22. Harriet
    Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible.
  23. Motherless Brooklyn
    Motherless Brooklyn feels altogether too tidy, a film that revives many of the touchstones of noir, but never that throbbing unease that courses through the classics of the genre.
  24. The Laundromat
    Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
  25. Zombieland: Double Tap
    Behind the self-awareness and the irony is merely a hollow emotional core, a lack of anything to say because saying something would require ambition rather than complacent winks and nods.
  26. Halloween Kills
    As far as improvements go, Michael Myers’s revitalized brutality is arguably the only successful one that Halloween Kills makes.
  27. Halloween Ends
    Just as David Gordon Green seems to have finally unshackled his legacyquel trilogy from the dead weight of the past, the film loses the courage of its convictions.
  28. Daniel Isn't Real
    Its performatively extreme imagery thinly masks a rather banal view of male subjectivity and inner conflict.
    • 48 Metascore
    • 38 Critic Score
    Underwater
    William Eubank’s Underwater is neither a too-big-to-fail event film nor a relatively low-budget genre sleeper. In other words, it doesn’t put in the effort to reach for the heights of Alien or plant its tongue firmly in cheek a la Deep Blue Sea.
  30. Cruella
    The film’s outward liveliness can’t mask the inner inertia it has as just another lifeless product assembled in a factory.
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