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. Deliver Us From Evil
    A jump scare isn't just a jump scare in the films of Scott Derrickson, which isn't to say this wannabe master of horror has entirely perfected the art of sudden dread.
  2. The Comedian
    Nearly everything in Taylor Hackford's tin-eared comedy is as ersatz as the Robert De Diro character's rage is real.
  3. Salinger
    An outsized A&E Biography episode coursing with the strident urgency typical to anyone convinced they have something new to say on a long since played-out topic.
  4. House of Boys
    Call me crazy-stupid, but locker-room anal sex aside, didn't Christina Aguilera just enact this scenario last fall in "Burlesque"?
  5. The Boys from Brazil
    Jerry Goldmsith’s ominous score is reminiscent of his Oscar-winning work for The Omen but The Boys From Brazil is pure pomp and circumstance.
  6. Smurfs: The Lost Village
    It's content to be the sort of film parents can throw on an iPad to ensure 90 minutes' worth of relative peace and quiet away from their antic children.
    • 40 Metascore
    • 50 Critic Score
    Domino
    The film goes through its motions too quickly for its imagery to convey the irrepressible force of provocation.
  8. Aloha
    After a while, the film's sing-a-song-for-the-world vibe, so buoyantly optimistic at first, becomes grating and smug.
  9. Insidious: Chapter 2
    A full realization of the very worst fears one could imagine when its director, James Wan, unexpectedly emerged from the torture-porn murk with its original, spiritedly directed predecessor.
  10. Teenage Mutant Ninja Turtles: Out of the Shadows
    Its openly mercenary ethos initially scan as a bracing lack of pretense in a market crammed to the gills with insidious faux-sentimentality, but its overstuffed relentlessness proves almost equally tedious.
  11. Pitch Perfect 3
    Women deserve a better vehicle for demonstrating the power of female solidarity than this empty money grab.
  12. Wild Card
    The action-movie pyrotechnics succeed only at reinforcing Simon West's macho bona fides and condescendingly forcing Jason Statham back into his wheelhouse.
  13. From the Land of the Moon
    The film is so humorless and in love with its own obviousness that it grows laughable.
  14. Mine
    The film has absolutely no interest in the dilemmas or after-effects of war and occupation.
  15. Jupiter Ascending
    The film is ntermittently inventive in its visual and physical effects, but its politics are unthinking and obvious, a cheap anti-authoritarian tantrum imbedded in an intergalactic action-melodrama.
  16. Homefront
    The material plays out like a particularly busy episode of Sons of Anarchy, possessing a peculiar joylessness that's anathema to the success of films like this.
  17. The 355
    The film treats its premise as the backdrop for a trite celebration of empowerment and teamwork among professional women.
  18. The Benefactor
    Writer-director Andrew Renzi treats unfettered wealth as a hyperbolic playground through which to explore masculine insecurity.
  19. Poltergeist III
    At its best, Poltergeist III recalls that surreal mix of DIY ingenuity and narrative ineptitude that mark some of Lucio Fulci’s lesser efforts. At its worst, well, it’s just another soulless, hacky-tacky horror sequel.
  20. Man on a Ledge
    The script is a hot mess of the highest order, taking some of the stalest chestnuts in the long, venerated legacy of the framed-cop-trying-to-clear-his-name genre and somehow f---ing it up, in scene after scene after scene.
  21. Falling Overnight
    Falling Overnight recalls some of the more annoying entries in the mumblecore subgenre that erroneously believe that every indiscriminate moment in a person's life is worthy of a film regardless of subtext.
  22. Spiral: From the Book of Saw
    The film doesn’t reset the Saw template in any marked way. It seems primed to explore the present-day fight against police brutality, but it never lives up to that promise.
  23. The Film Critic
    It perverts cinephilia by asserting that anyone who engages in criticism actually, deep down, wants to be a practicing artist.
  24. The Beat Hotel
    Following the faux-opiate flecked suit of docs like One Fast Move or I'm Gone, The Beat Hotel can't quite rise above its obvious desire to appeal to the former demographic in spite of their apparently limited patience for historical exegesis.
  25. Butter
    It's the film's unwillingness to deal with the sometimes hilarious and often problematic things its characters say and do that stands as one of its ultimate failings.
  26. X-Men Origins: Wolverine
    The action is perfunctory and forgettable, albeit no more so than the script's range of clichés.
  27. Slumberland
    Slumberland lacks the sense of danger that Winsor McCay liberally infused into his stories.
  28. Brick Mansions
    Only the very charitable would characterize this strain of providence as anything other than dumb, or at least incredibly forgetful.
  29. Leatherface
    Alexandre Bustillo and Julien Maury's anonymous work here could've been overseen by any hipster looking to make a mark at Platinum Dunes.
  30. Dracula Untold
    It's a story arc that wouldn't be out of place on Game of Thrones, except it lacks for the HBO program's dense and surprising dramatic reflexes.
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