Slant Magazine's Scores

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For 7,775 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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  1. Jurassic World Dominion
    When Dominion isn’t suffocating itself with world-building, much of it frustratingly untapped, it’s wholly given over to corny fan service.
  2. Ong Bak 3
    Most of Ong Bak 3's spectacular shortcomings are forgivable because, to a large extent, the film is everything you came to see and then some.
  3. Hillbilly Elegy
    Hillbilly Elegy feels like a bland feel-good story rather than one part of a longer tragedy with no clear end.
    • 38 Metascore
    • 63 Critic Score
    The Trouble with Bliss
    Populated with unlikely occurrences and oddball characters, it plays out, to put it most complimentary, like a dull, slower moving "After Hours."
  5. Extraterrestrial
    A knowing mélange of recognizable genre tropes bordering on shopworn cliché, with little else introduced to the equation to justify its existence.
  6. Cell
    The film insufficiently connects the book's prophecy with its present-day, real-world forms of realization.
  7. Mr. Jones
    That it half succeeds, in spite of its cloying self-seriousness, means that it's at best a convincing copycat of a definitive expression of ego and influence in art.
  8. Adore
    So deadly serious and yet so goofily unbound that, in some scenes, incest truly seems like it's on the scandalous menu.
  9. Electric Slide
    Like the characters, the film's exterior flash can't conceal a glaring emptiness.
  10. The Words
    The film folds narratives on top of narratives in a vain attempt to mask the fact that there's nothing to read between its graceless lines.
  11. Mr. Church
    Bruce Beresford's film is remarkable for how it manages to indulge so many offensive and shopworn clichés at once.
  12. Kickboxer: Vengeance
    It relies less on in-camera stunts than editing that renders vague gibberish of the altercations.
  13. Trespass
    A jerky, clamorous domestic thriller that attempts, with nonsense and expletives turned up to full volume, to say something thrillingly profound about the depths of misery one can reach while doing financial damage control.
  14. Marfa Girl
    The film finds the actors' performance deficiencies functioning less as signs of authentic teenage behavior than as an incompetent carrier of plot.
  15. Traffik
    Deon Taylor seems uncomfortable with the escalating relentlessness of a siege film, eventually splitting Traffik off into a variety of other tangents and genres, diluting the potent subtext at the film's center.
  16. Winnie Mandela
    The film's tonal inconsistencies speak less to the struggles of its titular subject than to its own grasp-exceeding ambitions.
  17. 24 Hours to Live
    Brian Smrz never contrasts the film’s violence with stillness, allowing the audience to enjoy a sense of foreboding escalation.
  18. Autómata
    Much like a spate of recent summer blockbusters, there's a tiring sense that every single facet of the narrative has to be rendered with truculent solemnity.
  19. Baywatch
    In terms of body objectification, Baywatch is an equal-opportunity exploiter, but when it comes to comedy, it's a total boys' club.
  20. 1911
    Adhering to what is apparently a formula for national superproductions, 1911 throws dates and names on the screen with unceasing speed and frequent irrelevance -- gratuitously identifying a walk-on as "German diplomat."
  21. Inescapable
    The film spins its wheels for almost an hour until collapsing under the weight of exposition that renders the mystery nearly besides the point.
  22. My Big Fat Greek Wedding 2
    As far as shameless excuses to rehash crowd-pleasing gags from the first film go, it doesn't particularly go about its duties cynically.
  23. Aardvark
    The film adopts a half-hearted variation on A Beautiful Mind's gimmicky approach to grappling with a man's mental illness.
  24. Black Out
    The film's various references to other stylistic touchstones, while thematically apt, rarely carry any sort of critical inquiry.
  25. Gimme Shelter
    Writer-director Ron Krauss's Gimme Shelter is wretched long before its odious ulterior motives come to light.
  26. Burying the Ex
    It alternates awkwardly between shrill, borderline misogynistic sex farce and desperately gory, pun-rife creature feature.
  27. Judy Moody and the Not Bummer Summer
    Kitsch sprung from the lame imagination of adults who probably wish their tweeners lived their lives like Judy Blume characters.
  28. Son of God
    The film plays for much of its length like a terrible sketch comedy with one-dimensional caricatures shuffling listlessly through a succession of stilted tableaux.
  29. Serenity
    The film’s twist ending exists only to retroactively justify writer-director Steven Knight’s feeble stylistic choices.
  30. Connected: An Autoblogography About Love, Death & Technology
    One of the film's main problems is the fact that Shlain is so invested in connecting her father's scientific findings... with an astonishingly linear history of the world that she fails to see the more private connections that flicker in and out of her verbose voiceover.
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