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. The Pact 2
    Camilla Luddington refuses to predictably foreground her character's escalating fear, allowing us instead to see that fear as being at war with her inquisitive intelligence.
  2. Autumn Lights
    The film is like a landlocked Bergman chamber drama divested of any ambivalence regarding human relationships.
  3. The Professor
    The film goes down easy because it saves the self-improvement clichés for the homestretch.
  4. Atlas
    Atlas seems like a story that should have been experienced with a gamepad in hand.
  5. Wrath of the Titans
    Made possible by the half a billion dollars Clash of the Titans garnered worldwide, Wrath of the Titans sputters and coughs on the fumes of its own inevitability.
  6. The Lone Ranger
    The movie, of course, barrels toward climax upon climax, and while possibly better photographed, the crashes, bangs, and booms are no less numbing than anything else you've seen in this summer of garbage blockbusters.
  7. The Face of an Angel
    Michael Winterbottom's film is a mess of tones, but not of ideas, which could well sum up the director's prodigious but uneven oeuvre.
  8. Seven Days in Utopia
    God bless Robert Duvall. An American cinematic institution, our greatest living actor makes the fortune-cookie bromides of Matthew Dean Russell's Seven Days in Utopia sound like Yates.
  9. Walking with Dinosaurs
    The strain to make the film both an educational tool and a child-minded entertainment is noticeable throughout.
  10. Annabelle
    It's all a far cry from James Wan's The Conjuring, which embraced the thrill of the paranormal even as it respected its frazzled, earthbound characters.
  11. Cold Comes the Night
    Tze Chun's film exudes no flair in rehashing the violence and suspense of its predictable noir-thriller material.
  12. Spy Kids: All the Time in the World
    Even the use of the 3D format -- and the 4D "Aroma-Scope," which allows the viewer to enjoy various odors in sync with the film -- adds to its good-natured earnestness.
  13. Night of the Lepus
    William F. Claxton’s film is a radically dull riff on the nature-run-amok genre, utilizing what must’ve felt at the time like the only animal not yet exploited to scare audiences. But scares are exactly what the filmmakers didn’t get.
  14. Are You Here
    The female characters on Mad Men are probably the show's strongest asset, but here they're hollow to the point of insult.
  15. Ex-Girlfriends
    The romantic quest that's meant to drive the film is meaningless because Alexander Poe has extended empathy to no one besides himself.
  16. Fist Fight
    Over-stuffed and under-conceived, Fist Fight is a clumsy mélange of clashing comedic perspectives.
  17. An Eye for Beauty
    Denys Arcand fashions a commandingly leisurely pace that allows us to follow these people who walk a tightrope separating ecstasy from misery.
  18. Heist
    Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
  19. Fun Size
    It pairs modern attitude with John Hughesian tropes, and it's odd enough, in spurts, to boast originality.
  20. Special Forces
    The film walks a questionable line between Important Issue seriousness and antsy video-game machismo.
    • 37 Metascore
    • 38 Critic Score
    Delhi Safari
    A much better way to strike home the same green message, while also having more fun, would be to just skip this movie and take your kids to a national park.
  22. Dirty Girl
    There's a girl, and she's prone to dirty acts, but that's just one patch of this arbitrarily stitched quilt of white-trash, Bible-Belt transgression, which flattens under the weight of a truckload of half-realized ambitions.
  23. The Samaritan
    The Samaritan treads a fine line between film-noir moodiness and crime-thriller triteness, mostly settling for the latter.
  24. Jessabelle
    Rather than commit to exploring Jessabelle's existential crisis, the filmmakers opt to pile on the clichés straight until the rotten denouement.
  25. Let My People Go!
    Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.
  26. The Nut Job
    There's no personality in the design or the script, which only renders the cynical aftertaste of this convoluted one-squirrel-against the-world story all the more potent.
  27. In the Blink of an Eye
    In the Blink of an Eye feels less like a film than a commercial for life insurance that got out of hand, or perhaps more accurately one for the kind of hollow Silicon Valley tech optimism that has been thoroughly exposed as a sham by now.
  28. Red Notice
    A constant sense of motion can’t obscure how stale, secondhand, and spiritless this entire endeavor feels.
    • 37 Metascore
    • 38 Critic Score
    Allegiance
    Michael Connors does a fine job of not passing judgment on his characters, yet his depiction of his main character's dilemma is about the only thing he handles correctly.
  30. The Bye Bye Man
    Stacy Title’s film ends up succeeding most deftly as an advertisement for on-campus housing.
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