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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    • 41 Metascore
    • 25 Critic Score
    5 Star Day
    Danny Buday's film is not so much skeptical of astrology as confused about it.
  2. Monster Trucks
    The film cartoonishly admonishing Big Oil while hypocritically fetishizing the gas-guzzling appetite of a cute and cuddly machine-creature hybrid.
  3. Sabotage
    There's no sense of visual artifice to match the ludicrous pitch of the script, and subsequently, the film comes off as awkward and uncertain.
  4. Miss Bala
    The Mexico of this film is merely a place of abject lawlessness, whose hellishness exists only to stoke our fascination for how the protagonist grows as a person by drawing on her inner strength.
  5. Before I Go to Sleep
    It's hard to tell if the film is hampered or helped by the performances of its three stars, because it's so amateurishly written and directed that their participation beggars belief.
  6. Super Troopers 2
    Given the sheer amount of comic material here, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.
  7. Raze
    Raze leaves the background particulars about this competition oblique, partly because it adds a layer of ominous mystery, but primarily because it doesn't matter; witnessing women-on-women violence is the thing here, regardless of any narrative context.
  8. The Hollow Point
    Gonzalo López-Gallego's direction isn't confident enough to allow us to ignore The Hollow Point's contrivances.
  9. The Grudge
    Nicolas Pesce evincing little of the promise he showed in his prior films, and even less drive to remake the old into something new.
  10. Shelby Oaks
    Chris Stuckmann’s utilitarian approach is doubly frustrating considering that Shelby Oaks does, at least in the early going, point toward potentially having something to say about the vlogger space, internet infamy, and the way tragedy takes on a cultural virality.
  11. The Forgiven
    Roland Joffé's film is largely successful in its attempt to grapple with the terrible truths of apartheid and its legacy.
    • 41 Metascore
    • 38 Critic Score
    A Girl and a Gun
    Had director Catheryne Czubek focused on just one or two of the several interesting or lesser-explored topics under the umbrella of her debut film's subject matter, A Girl and a Gun might have amounted to a sharper, more interesting documentary.
  13. Staten Island Summer
    Breaking the laws of human nature is an ancient comic convention, but it only works when it leads to a laugh.
  14. Mojave
    With the film, director William Monahan offers audiences a bundle of fetishes dressed up as an existentialist thriller about the class system.
  15. Chappie
    The film's exasperating atonality washes out any legitimate idea about identity, education, nature versus nurture, or artificial intelligence that Neill Blomkamp hoped to evince.
  16. The Unforgivable
    The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
  17. Romeo & Juliet
    Not even when the doomed Juliet reaches for Romeo's dagger do you feel a single vicarious pain in your gut.
  18. The Quiet Ones
    If the stock concessions made to genre cliché by The Woman in Black can be charitably viewed as deliberate tips of the hat to the heyday of Hammer Films, then John Pogue's period-set exorcism yarn The Quiet Ones more interestingly upends those tropes.
  19. Darling Companion
    A lost-dog drama so insufferable it makes one wish its human characters would also run off and never return.
  20. American Meat
    Despite the intensity of its scope and research, American Meat is a decidedly soft-hitting display of an overweening good faith that, frankly, just can't jibe with the times.
  21. The Girl from the Naked Eye
    The Girl from the Naked Eye has heart, which is more than can be said of some other recent genre throwbacks, but it ultimately makes barely a splash.
  22. Molly's Theory of Relativity
    The characters never sound like they're actually talking to one another, but rather delivering Jeff Lipsky's echo-chamber monologues.
  23. Come Away
    The film can’t seem to decide whether it’s fantasy or allegory and whether its characters are fan fiction or flesh and blood.
  24. Gangster Squad
    Ruben Fleischer's film is a perfect example of Hollywood hypocrisy, something to be ignored diligently.
  25. Better Living Through Chemistry
    A sexily chaotic parody of entitlement becomes just another tale of a white dude learning that there are worse things in life than essentially having no problems.
  26. Fatman
    If it weren’t so airless, it’d be easier to appreciate Fatman a character study of Santa’s midlife woes.
  27. Paranormal Activity 4
    Paranormal Activity 4 sadly continues the series' downslide, most drearily with a mid-film twist that enables the filmmakers to go about essentially remaking the second entry.
  28. The Perfect Family
    Having the far from goody-goody Kathleen Turner play a holier-than-thou mother bent on winning a devout church title is an inherently hilarious premise.
  29. Return to Nuke 'Em High Volume 1
    Because it actively defies and outright ridicules all notions of aesthetic intent, proper form, and moral propriety, this lazy Z-film pastiche is essentially impervious to standard critical evaluation.
  30. Dark Was the Night
    The film may take the notion of implication over illustration a bit too far.
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