Slant Magazine's Scores

Select another publication »
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
view
per page
  1. It Lives Inside
    The film views its main character’s culture, as well as her struggles to suppress her identity in order to fit into her suburban world, with a nonchalance that often scans as negligence.
  2. The Mountain
    Thomas Salvador frustratingly never offers a concrete sense of what his character feels that he’s lost, and so we’re tasked with loading meaning onto the character’s journey of apparent self-reclamation.
  3. Jeanne du Barry
    Like the real Countess du Barry, it’s eventually caught up in the very pomp and splendor that it initially lampoons.
  4. Asphalt City
    Shove everything into the meat grinder of cynicism and, in the end, your insights come to feel purely incidental.
  5. Firebrand
    Ultimately, in trying to make Katherine both a historical girlboss and a near-martyr to a vaguely articulated cause, Firebrand’s meandering, under-baked screenplay manages to neither have its cake nor eat it too.
  6. The Sweet East
    Sean Price Williams’s solo feature directorial debut is pretty fuzzy on what it wants its national tour of brainless dogma to mean.
  7. The Stroll
    The Stroll is overtly broad, detached, and full of ready-made empowerment rhetoric.
  8. God Is a Bullet
    Aside from the red stuff, the film is scarcely interested in what’s inside its characters.
  9. Dumb Money
    The film’s status as a corporate entertainment product (among the film’s producers is the Winklevoss twins) also presents an internal discord in and of itself, particularly with the script incessantly preaching financial equality for all.
  10. Mayhem!
    Whenever Mayhem! makes any attempt at character building, it feels as if we’re watching a trashy DTV movie, and as a result reveals itself as a run-of-the-mill revenge flick that practically crawls toward its preordained destination.
  11. Mob Land
    John Travolta’s scenes are islands of tranquility in a jittery sea of rote crime-movie pyrotechnics.
  12. The Exorcist: Believer
    The film is a mélange of tired normcore horror tropes indistinguishable from any film in the Conjuring universe.
  13. Dicks: The Musical
    In the instances where it’s not going hard, Dicks is a surprisingly flaccid affair.
  14. Dance First
    Rather than grappling with the mind and soul of the man who birthed bizarre, fatalistically funny and existentially unsettling works like Waiting for Godot, James Marsh’s film seems content to merely adapt the “Personal Life” section of Samuel Beckett’s Wikipedia page.
  15. Godzilla x Kong: The New Empire
    The last 20 minutes live up to the promise of bludgeoning viewers with plenty of rock-‘em-sock-‘em combat and demolished human landscapes, but what any of it is actually for will be forgotten even before the dust begins to settle.
  16. My Neighbor Adolf
    The film at once wrings this premise for whimsical absurdism and slow-burn suspense, on each side vulgarizing the memory of the Holocaust.
  17. DogMan
    Dogman seems outwardly enamored with cosmic possibilities of meaning, but Luc Besson’s script remains earthbound and unimaginative.
  18. Next Goal Wins
    Next Goal Wins feels like five different films, all of them failing to coalesce in an effective way because every 30 seconds the script thinks it has to crack wise.
  19. Boy Kills World
    If you’re looking for flash and snark, Boy Kills World has them in spades, but it’s too punch-drunk on its own juvenile grandiosity to bother offering even a whiff of substance.
  20. The Critic
    It’s only the winking malice of Ian McKellen’s title character that prevents the film from imploding entirely, dirigible-like, as the haywire plot begins to nosedive.
  21. Bob Marley: One Love
    This shaggy, disjointed film is less interested in the complexities of Marley’s personal or professional life than it is in presenting him as a hero and an inspiration.
    • 62 Metascore
    • 38 Critic Score
    Daddio
    The film is as tedious and predictable as its traffic-clogged Long Island Expressway setting.
  23. The Boys in the Boat
    The film doesn’t break a single mold, and it doesn’t take long to realize that’s entirely the point.
    • 77 Metascore
    • 38 Critic Score
    Tatami
    The film limply gestures at ideas around women’s rights and athlete boycotts.
  25. Love Me
    The further Love Me develops its scenario, the less plausible it becomes, even by lovelorn sci-fi standards.
  26. Spaceman
    Spaceman seems to want to be an allegory about men’s emotional unavailability and its impact on heterosexual relationships, but instead of coming across universal, the film’s human characters, along with much of the drama, are mostly empty space.
  27. The Strangers: Chapter 1
    This film’s approach to slasher film mayhem is liable to induce some serious déjà vu.
  28. Kinds of Kindness
    The abstraction is presented with cloying cuteness, the sadism is juvenile and purposeless, and the humor is stomach-turningly glib.
  29. Holland
    The discomfort in watching Holland is not knowing if something is intended or, like the main character, you’re looking for things that aren’t there.
  30. Realm of Satan
    The film isn’t designed to challenge what you think you know about the Church of Satan.
Page:

Top Trailers

See all »
See all trailers »