Slant Magazine's Scores

Select another publication »
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
view
per page
  1. Warcraft
    Watching this bloated mélange of derivative fantasy tropes unfold is akin to being forced to follow the efforts of a particularly ham-fisted gamer, with the viewer being jerked back and forth across countless busy CGI landscapes by a plot that's utterly predictable when it isn't confusing.
  2. CBGB
    As the film moves from one musical performance to another, the result increasingly feels like a series of celebrity impersonations set to a best-of-punk compilation album.
  3. Girl on a Bicycle
    The film turns the miscommunication between cultures into an utterly lifeless romantic comedy best appreciated as a travel guide for first-time tourists to Paris.
  4. Paranormal Activity: The Marked Ones
    Several reels' worth of ugly, unshaped footage that wouldn't have been deemed fit for a movie's end-credit outtakes not so long ago.
  5. Hours
    The film's fealty to history is both unnecessary and a hindrance, pulling us out of a story that could have easily been set in an anonymous city hit by a nondescript hurricane.
  6. The Truth About Emanuel
    What's missing, in the end, is any provocative or poignant insights into the "truth" about Emanuel; all we get are vague hints.
  7. Fantastic Four
    It adds more grist for the mill to the notion that studios don't hit the big red "reboot" button in any other state than a panic.
  8. Kingsman: The Secret Service
    It's tructured in familiar, safe terms, plays for very low stakes, and appeals to no one so much as white, male teenagers with chips on their shoulders.
  9. Summer in February
    As sumptuous as it is immensely shallow, the film practically revels in its attention to lush English landscapes as a means to distract from its derivative storytelling.
  10. Night Train to Lisbon
    Bille August's film is a protracted, soporific trip into Portuguese history that would like to be a romantic thriller.
  11. Reasonable Doubt
    You may feel as if you're watching two or three abbreviated episodes of Law & Order in quick succession rather than a fully realized movie.
  12. Trap for Cinderella
    Ian Softley is far too interested in the minutia of the plot to bother with the Chabrolian elements of bourgeois excess or the Hitchcockian themes of mistaken identity.
  13. A Fantastic Fear of Everything
    Strands of Simon Pegg's amiable persona are found in the film's more tolerable bits, but even this seasoned vet's unique voice is lost amid the glut of references to other work.
  14. Gods of Egypt
    Its virtues as throwback don't elide the foolhardly decision to imprint an ancient mythology on a contemporary superhero framework.
  15. Child 44
    The film is at once devoted to corroborating and casting an exaggerated light on Soviet paranoia and the state's rhetoric of unmasking its enemies.
  16. The Lazarus Effect
    David Gelb doesn't evince so much as a single compositional sleight of hand, merely delighting in turning lights on and off and watching Zoe appear in random places.
  17. The Best Offer
    It ascribes to the falsehood that a rarefied milieu inherently infuses a film with intelligence, as if inept execution can be covered up by pretty lensing.
  18. 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.
  19. Before I Go to Sleep
    It's hard to tell if the film is hampered or helped by the performances of its three stars, because it's so amateurishly written and directed that their participation beggars belief.
  20. Dark Places
    The payoff is a huge and telling visual howler, summarizing the entire plot with a blithe indifference that will inevitably mirror the audience's.
  21. Serena
    The film can't reconcile Ron Rash's apocalyptic tenderness with its own eagerness to revel in romantic star allure.
  22. The Longest Ride
    There's little doubt where Cormac McCarthy-bashing Sparks's allegiances lie. The Longest Ride is truly no country for old ambiguity.
  23. Wish I Was Here
    It's hard to see the fiscal woes at the center of Zach Braff's second feature as anything more than a fashionable depiction of first-world problems.
  24. Cavemen
    Cavemen is an apt title considering how the sensibility and maturity of the film's characters don't seem to have developed beyond primal, alpha-man impulses.
  25. Authors Anonymous
    It takes the easiest approach to every scene, haphazardly juggling different tones without integrating them into a cohesive and consistent thematic identity.
  26. Rich Hill
    Rich Hill is poverty porn, examining lower-class spaces with pity as its operative mode and engendering little more than a means for viewers to leave the film acknowledging its sadness.
  27. Hot Tub Time Machine 2
    Josh Heald's script takes the easy way out, ending the film with a torrent of slapdash sentimentality.
  28. Planes: Fire & Rescue
    It's not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
  29. Drive Hard
    Drive Hard is the action-film equivalent of one of those folks who relentlessly speak of having it tough all over as they plan their third yearly vacation.
  30. Monster Trucks
    The film cartoonishly admonishing Big Oil while hypocritically fetishizing the gas-guzzling appetite of a cute and cuddly machine-creature hybrid.
Page:

Top Trailers

See all »
See all trailers »