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. Sharp Stick
    Sharp Stick shows that Lena Dunham’s preference for solipsistic protagonists with boundary issues has its limitations.
  2. Master
    Mariama Diallo’s film never seems to fully buy into its horror trappings and ends up treating its characters as avatars for multiple grievances.
  3. Hatching
    The ham-handed allegorical construction, generically titled characters, and self-serious tone in its final third drains the story of the specificity that might have resulted in a more incisive critique of the perils of perfectionism.
  4. The Adam Project
    Ultimately, the film tries so hard to do so much that it doesn’t end up doing any of it particularly well.
  5. Firestarter
    This new Firestarter is an almost anachronistically short production whose elements just sit there like mishandled kindling.
  6. Dark Glasses
    After a brilliantly constructed opening, Dario Argento’s film gives the impression only of a giallo doodle.
  7. The Contractor
    The film’s rote action-movie plotting is calibrated in a ponderously straight-faced way so as to give it some semblance of gravity.
  8. You Are Not My Mother
    The primacy that it places on its dopamine drip of dread undercuts whatever genuine commitment it might have toward mental illness and trauma.
  9. The Line
    The Line isn’t without its moments of genuine beauty, but it’s difficult to shake that its distinct lack of a clear story hasn’t given enough space to the characters.
  10. Hustle
    Hustle doesn’t really seem to know who its characters are, much less how they fit into the complicated web of sports, media, and finance that defines the NBA.
  11. Renfield
    The film frustratingly shrouds Nicholas Cage’s manic intensity in thick blankets of winking irony.
  12. Metal Lords
    Peter Sollett’s coming-of-age comedy betrays rather than upholds the values of the very kids it wants to revere.
  13. Barbarians
    Throughout, Barbarians oscillates between smugness and apprehensiveness about the film that it’s trying to be.
  14. Gold
    Throughout, Efron seems almost determined to wipe away the last vestiges of his youthful looks.
  15. Memory
    Martin Campbell’s film never shakes off its familiarity, and as such seems destined to, well, be lost to public memory.
  16. She Said
    Ultimately, She Said is more concerned with eliciting the audience’s admiration than its understanding, its compassion, or even simply its interest.
  17. Violent Night
    Ultimately, it’s the filmmakers’ insistence on both subverting the expectations of the family Christmas film and upholding them that leaves Violent Night feeling like it wants to have its Christmas cookies and eat them too.
  18. Bells Are Ringing
    It has the unfortunate effect of being a movie that seems stuck on a Broadway stage.
  19. Stay Awake
    Jamie Sisley’s film looks at its serious subject matter through a maudlin lens.
    • 46 Metascore
    • 38 Critic Score
    The Super Mario Bros. Movie
    The film feels like it’s content to check off to-do notes and scratch the viewer’s nostalgia itch.
  21. The Gray Man
    The Gray Man is a noisy, flashy spectacle that piles clichés atop ludicrous plotting and sprinkles it all with half-funny quips, all in the hope of bulldozing the audience into submission.
  22. Firebird
    There are clichés and then there are only clichés, and Firebird is suffocated by them.
  23. Persuasion
    The film proves again that the modern-day veneration of Jane Austen as the patron saint of the rom-com is also an act of simplification.
  24. Bardo, False Chronicle of a Handful of Truths
    The film signals that Alejandro G. Iñárritu, perhaps, is unable to push the limits of his own artistic expression.
    • 66 Metascore
    • 38 Critic Score
    White Noise
    The film rarely articulates the book's ideas with any real sense of the outside world without resorting to the easy exaggerations that Don DeLillo peddled in the name of satire, which, while maybe fresh back in 1985, ring completely hollow today.
  26. Final Cut
    Unlike One Cut of the Dead, Michel Hazanavicius’s similar ode to low-budget resourcefulness often rings false.
  27. Catherine Called Birdy
    In simplistic and self-congratulatory fashion, the film renders its main character as a sort of feminist crusader who undermines the sexist traditions of her time.
  28. The Last Voyage of the Demeter
    The film suggests a gene splice of a slasher flick and supernatural horror. But as enticing as that combination may sound, André Øvredal’s rendering of it is as bland and listless as the blues and grays that dominate the film’s color palette.
  29. Tori and Lokita
    The film subjects its main characters to one indignity after another, and to such a suffocating degree that it crosses the line between representation and exploitation.
  30. Champions
    As Champions tediously veers between the increasingly rote narrative beats of an inspirational sports story and a love story of opposites attract, it further stresses its own archaic qualities with a consciously anachronistic soundtrack that includes Chumbawamba’s “Tubthumping,” EMF’s “Unbelievable,” and Outkast’s “Hey Ya.”
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