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. Road House
    Not quite a grim-dark reimagining of a cult favorite, this Road House is still a needlessly un-nice rework that takes the business end of a broken beer bottle to the soul of the original.
    • 46 Metascore
    • 38 Critic Score
    Back in Action
    Seth Gordon’s film is largely, and awkwardly, beholden to the most banal of spy tropes.
  3. Michael
    The film turns the realities of a tragic, deeply complicated life into a sanitized popcorn film.
  4. The Super Mario Galaxy Movie
    The film has, figuratively and literally, somehow even less gravity than its source material and predecessor. The visual language is divorced from reality and referent to the games; even Looney Tunes action is grounded in the real world—the better to subvert it.
  5. TRON: Ares
    For a story that seeks to champion the unpredictability and finite quality of life, Ares ultimately feels trapped by the inertia of working within the parameters set by its no less flimsy predecessors.
  6. Young Woman and the Sea
    The film leaves no room for doubt about what Trudy Ederle will accomplish, and thus creates virtually no dramatic tension in her inevitable rise to the top ranks of women’s swimming.
  7. You're Cordially Invited
    By the time You’re Cordially Invited finds the correct mode to operate in, it’s about five minutes before the end credits roll.
  8. The Apprentice
    Perhaps there are limits on how deeply a film can explore the psyches of people who so nakedly show us their worst qualities.
  9. Emilia Pérez
    If a musical is supposed to communicate things that can’t be conveyed through normal dialogue, Emilia Pérez’s biggest problem is that it falls prey to redundancy, regurgitating the same ideas about identity, desire, violence, and redemption, betraying how little it has to say in the first place.
  10. Inheritance
    Its bizarre mismatch of form and content mostly saps it of life, tamping down the tension and frequently suggesting an accidentally distributed proof of concept for a project that never managed to secure funding.
  11. Here
    Here is all moments, some small and many big, but it’s lacking in gravitas, concerned as it is with tugging at our heartstrings by serving up little more than signifiers that we can project our own memories or personal baggage into.
  12. Never Let Go
    As the film goes on, it stretches its own internal logic and, following a genuinely shocking third-act twist, renders the world that it’s created virtually incoherent merely in a ploy to keep the audience on the edge of their seats.
  13. The Killer
    This remake is absent the far richer character development that made the original as much a melodrama as a shoot-’em-up.
  14. A Complete Unknown
    The bevy of documentaries, narrative films, and books about Bob Dylan’s breakout, ascent, and impact on the 1960s pop zeitgeist could fill a library, which makes this oversimplified retread of the same topic all the more tedious and superfluous.
  15. The 4:30 Movie
    Jam-packed with his familiar brand of vulgar yet verbose stoner humor and free-flowing riffs on movies—especially his own—the vibes are certainly off the charts in Kevin Smith’s film.
  16. Apartment 7A
    Rather than deepening or complicating the original work, Apartment 7A engages with it purely on franchise terms, as in how it foregrounds the Castavets for much of the runtime.
  17. September 5
    The film isn’t interested in anything that would detract from providing audiences with the sustained pleasure of watching a clock-ticking thriller.
  18. Jurassic World Rebirth
    There’s a grating meta-ness to Gareth Edwards’s Jurassic World Rebirth that speaks to the filmmakers’ knowledge that they’re at the mercy of pressures to bring something new to a franchise that’s now on its seventh installment.
  19. Saturday Night
    There’s a certain pleasure in basking in the anarchic behavior of the SNL cast as depicted in Saturday Night, but it’s rendered hollow by the film’s often grating mythologizing of them, which includes trying to turn the 90 minutes before the first episode into a frenetic comedy of Safdie-esque proportions.
  20. The Life of Chuck
    Mike Flanagan’s film doesn’t escape the mires of unpersuasive pop psychology.
    • 50 Metascore
    • 38 Critic Score
    Wolf Man
    Wolf Man neither embraces the fundamentals of the werewolf folklore from which it draws nor convincingly reinvents them.
    • 51 Metascore
    • 38 Critic Score
    The Lord of the Rings
    Not even the Dark Lord Sauron would want to put his name to this movie.
  23. Hurry Up Tomorrow
    The film desperately tries to convince us that it’s peeling back the layers of the Weeknd’s persona in order to show you what’s really going on inside his head. But, in defiance of Anima’s wishes, Hurry Up Tomorrow lacks the honesty to confront what’s there.
    • 65 Metascore
    • 38 Critic Score
    The Housemaid
    The Housemaid’s twist is a doozy, but it falls just short of being a deconstruction of tradwife values.
  25. A Working Man
    David Ayer’s film proceeds as an unambiguous celebration of its hero’s vigilantism.
  26. Opus
    The film takes dozens of different anecdotes about cults and celebrities and manages to render them pedestrian, unoriginal, staid.
  27. Last Days
    Instead of delving into what lay behind John Allen Chau’s recklessness, the film scatters itself across multiple plot angles that confuse more than clarify.
  28. Jimpa
    Jimpa’s exploration of non-binary identity ultimately proves superficial.
  29. Smurfs
    Its pastiche of Into the Spider-Verse is revealed to be nothing more than window dressing.
  30. Dreams
    The film exposes the incontestable American art of getting more with blunt obviousness.
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