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. Reversion
    It may look like a dream, but it plays like someone reading a congressional report on corporate finagling out loud.
  2. Season of the Witch
    Romero’s own Belle du Jour, a tale of a lonely, neglected housewife whose discontent and suppressed erotic desires are efficiently conveyed in a series of bondage-tinged dream sequences.
  3. An Acceptable Loss
    Writer-director Joe Chappelle’s An Acceptable Loss is a B movie with a morally urgent message.
  4. Table 19
    Each of Table 19‘s faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.
  5. Act of Valor
    A movie whose cinematic ineptitude is matched only by its ideological rottenness, Act of Valor features a cast of real-life active-duty Navy SEALS in order to grant the project's us-versus-them geopolitical worldview a sham moral authority.
  6. The Boss
    The incongruity between Melissa McCarthy's eagerness as a performer and her character's total lack of compassion makes the film somehow both restless and tedious.
  7. The Carpenter's Son
    The Carpenter’s Son fails to even offer decent frights, unless one finds the preponderance of CGI snakes particularly scary.
  8. Horrible Bosses 2
    If your answer to the question "When are rape jokes funny?" is anything aside from "never," the good news is that you may still find a lot to hoot over throughout the film.
  9. Video Games: The Movie
    Jeremy Snead's doc comes off more as a commercial for a grand, overarching product that isn't finished being developed.
  10. Maniac Cop
    Maniac Cop is the type of movie that you would want to watch through the slits in a sewer grate, only its execution sits perched well above its scummy aim, and the end result is that you feel guilty for wishing for something more perverted.
  11. Unhinged
    Unhinged is essentially a nihilistic, style-free destructo-rama that’s designed to make us feel like shit.
  12. Shaft
    Ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.
  13. Here Comes the Boom
    As a comedy, the film aims low and manages to miss the mark entirely.
  14. In the Blood
    Aside from being another rote addition to the revenge-film canon, John Stockwell's In The Blood is also a supreme waste of Gina Carano's talent.
  15. The Heir Apparent: Largo Winch
    Like most of the film's performances, Sisley's comes off as flat and impenetrable, the result both of a certain stoical conception of character and the dissipation of focus that arises from the movie's perceived need to encompass so much.
  16. Suicide Squad
    Like the recruited criminals themselves, the film longs to be bad, yet its forced by outside pressures to follow narrow, preset rules.
  17. Fireworks
    Akiyuki Shinbo and Nobuyuki Takeuchi's time-travel device mostly just exists to complicate what is, at heart, a trite and sexist love story.
  18. The Goldfinch
    Enough of the individual moments pulled from the rag-and-bone shop of Donna Tartt’s sprawling mystery narrative make an emotional impact that the story’s structural issues fail to register as much at first.
    • 40 Metascore
    • 63 Critic Score
    Bad Kids Go to Hell
    The film's unlikely combination of didacticism and sexy teen slaughter signals a booming trend: the Occupy horror flick.
  20. Beneath
    Its stance toward every dipshit slasher and creature-horror flick that's come before it never feels less than casually hostile.
  21. Meg 2: The Trench
    If your hook is the promise of seeing Jason Statham go mano a mano with prehistoric sea behemoths, then leaning into the ludicrous is the only way to go.
  22. Father Stu
    The film is a Hollywood-approved show of Old Testament judgment that sees all people as sinners and thus deserving of all the punishment they receive.
  23. Tanner Hall
    Francesca Gregorini and Tatiana von Furstenberg's film is episodic, but the episodes don't achieve any kind of cumulative effect.
  24. Last Weekend
    The filmmakers are content to idealize everyone's unchecked narcissism and idle privilege--an inquiry-free recipe for disaster in an age when the American wealth gap is wider and more detrimental than ever.
  25. Tim and Eric's Billion Dollar Movie
    In the race to achieve unadulterated fourth-wall breakage, Tim and Eric's Billion Dollar Movie is the new pack leader.
  26. 3 Days to Kill
    McG may strip down his approach and serve up a variety of slick, well-paced shoot-outs and car chases, but his technical skill can't quite overcome the story's lazy sense of humor and incomprehensible account of international espionage.
  27. Welcome To Marwen
    The whole endeavor feels like a disservice to Mark Hogancamp’s story, in no small part because no one in the film feels human, even outside doll form.
  28. The Last Word
    Its main character's transformation isn't significant enough to justify her complete redemption in the eyes of those around her.
  29. Catch Hell
    The story allows for Ryan Phillippe to indulge in a self-deprecating brand of satire, but he can't work up enough courage to ever make his character--and, by extension, himself--the brunt of any of the film's barbs.
  30. Phantom
    Todd Robinson's film is a third-rate submarine-set drama until, in its final moments, it sinks to fourth-rate.
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