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. Wolves
    The cinematographic approach of the film suggests some unholy hybrid of the aesthetic and genre indulgences of Michael Bay and the hyper-literalist plot construction of Christopher Nolan.
    • 37 Metascore
    • 12 Critic Score
    The Double
    If the idea of a political thriller with a modern-day Cold War theme resonates with you or something in our collective unconscious, my FOMO levels are higher than a lonely night on Facebook.
  3. This Time
    Documentary director Victor Magnatti is more comfortable with loud and proud, and perhaps a tad suspicious of insinuation and circumspection.
  4. Caught in the Web
    The film opts for didactic resolution instead of fully committing to the contradictions in identity and agency its main character embodies.
  5. Only God Forgives
    It takes the basic form of the revenge flick and dips it in tar, making for a movie that comes out sticky, nasty, and black.
  6. The Frozen Ground
    Taste and good intentions are only going to get one so far with a script this tone deaf and direction this ugly and monotonous.
  7. 10 Cent Pistol
    One wishes the director had as burning of an interest in significance as he does trickery and quippery.
  8. Lipstick
    It’s Lifetime. It’s camp. It’s seriously confused, and it should speak directly to drag queens in straight relationships everywhere.
  9. Life Upside Down
    The film could aim with a bit more precision at the price of its characters’ evident comfort.
  10. 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.
  11. W.E.
    W.E.'s is a kind of dynamic pleasure that allows for non-shameful identification with the feminine and a fantasy of becoming what we see.
  12. The Out-Laws
    The Out-Laws shines when it spotlights the committed performances of its cast.
  13. Demonic
    Like District 9, the film is a genre outing with big ideas that’s more committed to the power of arsenals and pyrotechnics.
  14. Mainstream
    The film has the knowing swagger of something on the cutting edge but none of the self-awareness to realize it’s late to the party.
  15. 3-D Sex and Zen: Extreme Ecstasy
    For a film so proud of its trail-blazing status ("the first 3D erotic movie"), 3d Sex and Zen is certainly driven by the same good old symptoms.
  16. Big Significant Things
    Its anodyne tastefulness effectively lumps it into a big vat of likeminded Sundance-or-SXSW-endorsed offerings.
  17. Bravetown
    The filmmakers attempt to acknowledge the pain of warfare within the framework of a redemptive story that lends it an unforgivably patronizing sense of closure.
  18. Days and Nights
    The drama over dinner comes in small analgesic portions, and the secrets feel canned and the dialogue is too pretty to be believable.
  19. Damascus Cover
    The film trots out thinly conceived villains and a murky plot twists that leave crucial details needlessly shrouded in mystery.
  20. Shanghai
    Everything in Mikael Håfström's film is needlessly bloated to accommodate its status as an international, prestige production.
    • 36 Metascore
    • 50 Critic Score
    Beware the Gonzo
    As Beware the Gonzo happily dreams up its nerdy hero's victories over bullies, school censorship, and feeling like a nobody, it seems to do so from another time.
  22. My Spy: The Eternal City
    My Spay: The Eternal City is derailed by how readily it succumbs to the ludicrousness of a plot that generates stakes that are far too heavy for the threadbare structure to support.
  23. Sherlock Gnomes
    Arthur Conan Doyle's legendary characters feel as if they've been air-dropped into a universe where they don't belong.
  24. The Unholy
    Writer-director Evan Spiliotopoulos barely capitalizes on the luridly sacrilegious implications of the film’s premise.
  25. The Canyons
    Paul Schrader and Brett Easton Ellis don't have the sense of play this kind of narrative of one-upmanship requires, as we're never allowed to enjoy the characters' misdeeds.
  26. Space Jam: A New Legacy
    As soon as LeBron and Dom are sucked into computer space, A New Legacy largely abandons its underlying criticism of soulless corporate regurgitation of art-as-product and instead becomes an exhausting tour through the Warner Bros. catalog.
  27. Victor Frankenstein
    Victor Frankenstein is the movie version of a carnival sideshow, all smoke and mirrors, presenting a litany of human freaks and animal monstrosities to distract from the superficiality of its psychological and intellectual concerns.
  28. Lotus Eaters
    The free spirit-ness of its characters is certainly mirrored in the film's aesthetic playfulness, but the initial glimmer of Fassbinder-esque expression quickly veers toward Xavier Dolan-grade affectation.
  29. Goodbye World
    The tetchy band of thirtysomethings' interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.
  30. Criminal
    Criminal's absence of style, the lack of relish the filmmakers take in the material's inherent ludicrousness, is a failure of conviction.
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