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. Ant-Man and the Wasp: Quantumania
    Quantumania feels less the start of a new phase of Marvel films than a tired retread of adventures we’ve already been on.
  2. My Mother's Wedding
    Where Jonathan Demme’s Rachel Getting Married completely immersed viewers in the sometimes messy intimacies of family, My Mother’s Wedding feels more like a stage production that forgot to include its first act.
  3. Human Flowers of Flesh
    There’s an emptiness to Helena Wittmann’s Human Flowers of Flesh that no amount of striking cinematography, thematic suggestion, and allusions to Jean Painlevé can disguise.
  4. Slumberland
    Slumberland lacks the sense of danger that Winsor McCay liberally infused into his stories.
  5. The Pale Blue Eye
    The film often feels like one of the corpses in its story: cold, lifeless, and without a heart.
  6. The Whale
    With The Whale, Darren Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.
  7. The Little Mermaid
    This Little Mermaid feels more or less like two-hour-plus cosplay with the texture and gravitas of a Disneyland sideshow.
    • 64 Metascore
    • 38 Critic Score
    The Lost King
    The film, a shabby account of the story behind the story, muddles its themes and only superficially conveys the importance of the historical insights it contains.
  9. Last Flight Home
    Last Flight Home is an anguished therapy session disguised as a meditation on life and death.
  10. A Man Called Otto
    The film is so toothless that its protagonist is ultimately about as forbidding as a warm hug.
  11. Twisters
    The film proceeds as a jumble of poorly sketched backstories and subplots, half-hearted topical references, and tepid fan service.
  12. Skinamarink
    Skinamarink is confidently made, and certain upside-down images are especially creepy, but its spell is broken by its sheer, ungodly slowness, which springs from a paucity of ideas.
  13. Consecration
    Consecration ends up not just gimmicky but derivative of Christopher Smith’s own prior work.
  14. Baby Ruby
    The film’s depiction of the fear and uncertainty of motherhood gives in to monotony.
  15. Back to Black
    The film presents Amy Winehouse’s demise with a sad shrug, as one of those tragic things that just sort of happens.
  16. Flora and Son
    Flora and Son is far more invested in making its characters likable and cute rather than risking audience sympathies.
  17. When It Melts
    When It Melts is a film that lives and dies on the games that it plays with audiences.
  18. Hunt Her, Kill Her
    Hunt Her, Kill Her simply isn’t tight enough to maintain the tension that it seeks to create.
  19. Tetris
    There’s a riveting story somewhere here about the crumbling of the Soviet Union and the stranglehold of capitalism on ’80s culture, but Tetris never quite locates it.
  20. Paint
    The film doesn’t have a clear opinion on its main subject and the scourge of misogyny in media.
  21. She Came to Me
    The fatal flaw of the film is that it genuinely believes in the discreet charm of the bourgeoisie.
  22. Guy Ritchie’s The Covenant
    The film bangs the drum loudly on behalf of American exceptionalism.
  23. Leave the World Behind
    In the end, Leave the World Behind is content to blandly shrug in the direction of an amorphous calamity, reaching for a profundity that it fails to achieve.
  24. Pain Hustlers
    The excitement that the film tries to generate for its main characters is disturbingly glib.
  25. Heart of Stone
    The cinematography looks striking enough throughout the various set pieces, but little happens in them to elevate Heart of Stone past its hackneyed foundation.
  26. The Origin of Evil
    The Origin of Evil recalls Ruben Östlund’s Triangle of Sadness for how its prolonged, soft-peddled skewering of the wealthy seems convinced of its Buñuelian irreverence.
  27. No Hard Feelings
    What ultimately sinks No Hard Feelings is its inability to convincingly meld its excessively bawdy humor and its Hallmark Channel-level drama of two opposites who help one another to embrace life.
  28. Problemista
    The film doesn’t lock on a target long enough for it to work up a head of steam as satire about the art world and how it thrives on nepotism, let alone one about the frustrations of the immigration process.
  29. A Good Person
    The more that Zach Braff’s script tries to thematically tie its disparate threads together, the more that A Good Person comes to resemble the very same type of neat and tidy self-contained version of reality that it ironically skewers in its prologue.
  30. Five Nights at Freddy's
    Five Nights at Freddy’s has absolutely no idea what kind of ride it wants to be.
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