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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    • 38 Metascore
    • 50 Critic Score
    Goats
    Christopher Neil's film is more location-scouted and photographed than directed and acted.
  2. Lay the Favorite
    Hollywood celebrities romping around in a candy-colored Alexa-shot criminal underworld, pretty much as a means of passing time.
  3. Ghosts of War
    The film’s unreflective earnestness is haunting in all the wrong ways.
  4. Seeking Justice
    The film's tossed-off look and clunky editorial construction are still secondary to the sheer silliness of its story.
  5. Chaos Walking
    Beneath its perfectly entertaining surface, the film is a mess of contradictions that fails to live up to its own potential.
  6. Bad Santa 2
    Both a potent rendering of and cure for the holiday blues, Bad Santa 2 shows that even the most hopeless situations can be remedied and that just about anyone is capable of redemption
  7. The Collection
    Whereas the later "Saw" films were hampered by bloated backstory, various ostentatious agendas, and self-satisfied sadism, The Collection feels utterly unburdened by anything but its lean, fleet-footed plot.
  8. Amateur Night
    The film is peppered with interesting true-life details, but these are overwhelmed by frantic comedic sequences.
  9. The Ward
    Its ostentatious sense of horror -- think later-day Argento -- is far from suggestive, though some of its queasier moments effectively tap into our fears of not-so-bygone forms of invasive physical therapy.
  10. Think Like a Man Too
    That this retrograde "straight talk" somehow managed to emerge on screen as a reasonably genial ensemble comedy speaks to the strength of its performers.
  11. A Case of You
    Kat Coiro's film takes the comedy of discomfort to new levels of cringe-worthiness by presenting.
  12. One Fall
    One Fall is a bafflingly lame assemblage of self-help platitudes, the sort of film in which every narrative detail is specifically placed to pave the way for a pat moral you've grasped before the opening credits have barely concluded.
  13. The Stand In
    The film allows the scion of one of Hollywood’s most notable families to interrogate her relationship with celebrity in self-aware fashion.
  14. Free Birds
    The film is absent of humor and thrills, and accented with designs and color schemes that are equally notable for their lack of risk.
    • 38 Metascore
    • 0 Critic Score
    Girl Most Likely
    Shari Springer Berman and Robert Pulcini's dismal, D-grade sitcom isn't fit to lick the boots of Whit Stillman's four films.
  16. A Rainy Day in New York
    The film’s skittishness is particularly maddening considering that Woody Allen has nothing to artistically to prove.
  17. The Moth Diaries
    This is one vampire film whose sexless, generic ending betrays a promise of revisionist complexity.
  18. I Don't Know How She Does It
    The witticisms are delivered via a suffocating glut of audience hand-holding, which includes constant doc-style confessionals, whimsical on-screen text, studio-audience sound effects, voices in Kate's head, and voiceover narration.
    • 38 Metascore
    • 0 Critic Score
    2 Jacks
    The embarrassingly low production value of Bernard Rose's 2 Jacks works symbiotically with the film's botched performances.
  20. Max Rose
    The film occasionally and promisingly suggests an obsessive and free-associative paean to regret.
  21. Youth in Oregon
    Joel David Moore's film is too often distracted by irrelevant emotional grandstanding.
  22. And So It Goes
    Just as Michael Douglas doesn't have it in his guts to make Oren a real son of a bitch (a grandpa Gekko), Diane Keaton's jangled neurotic tics lack any dramatic import.
  23. V/H/S: Viral
    One need go no further than the film's first segment to grasp how little interest the latest entry in the anthology series has in generating chills from the lo-fi.
  24. Brake
    Until its pair of ludicrous twist endings, which complicates its message and logistics in ways that make little sense, Gabe Torres's Brake plays like a more simplistic version of Buried tailored specifically to a hawkish right-wing crowd.
    • 38 Metascore
    • 38 Critic Score
    Almost in Love
    The film spoils the charm of its concept in the way it confuses the wish to be a Woody Allen-Julie Delpy lovechild with a cramping formalism that borders the theatrical.
  26. Third Person
    If the glue holding Crash's arcs together was Paul Haggis's belief in the power of racism, this time it's love.
  27. Men, Women & Children
    Jason Reitman fails to take into account any of the positive endeavors enabled by social media, which will no doubt be used to promote and market his film.
  28. The Beyond
    Even by Argento standards, Fulci’s film is nonsensical to the point of distraction.
  29. Ben-Hur
    Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
  30. Midnight Sun
    Throughout, the film's tone vacillates jarringly between corny, broad humor and unrestrained treacle.
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