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. In the Blood
    Aside from being another rote addition to the revenge-film canon, John Stockwell's In The Blood is also a supreme waste of Gina Carano's talent.
  2. Get Hard
    The filmmakers largely stand out of Will Ferrell and Kevin Hart's way, but they also refuse to modulate the story's racial humor with any sense of subversion.
  3. Entourage
    If ever there was a movie equivalent of dad bod, Entourage is it.
  4. Legends of Oz: Dorothy's Return
    With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.
  5. Dark House
    The film's dialogue is knowing and the action sequences are elaborate, but not only in ways that advance the shady story toward its hokey denouement.
  6. Ride Along 2
    Like any serving of junk food, it seems engineered to give you that initial rush of satisfaction, but leaves you in a dead zone where the only thing you want is more of the same.
  7. A Night in Old Mexico
    Red is the kind of lazily written, thankless curmudgeon role that uses the trials of advanced age for cheap laughs rather than harnessing a veteran actor's talent to engage our empathy.
  8. Proxy
    It transforms itself from a meek lo-fi indie stalker thriller in the key of May to a hysterically sexist and homophobic revenge film.
  9. The Angriest Man in Brooklyn
    Robin Williams once again proves he can insufferably crank the energy to 11 without batting an eye, only this time his frenzied comic demeanor is replaced with equally harried contempt.
  10. Stage Fright
    Jerome Sable's debut feature couldn't be further from De Palma's delirious cinematic essays on vision and genre.
  11. If I Stay
    The film, based on the novel by Gayle Forman, is an almost deliberate confirmation of Alison Bechdel's claim that women in film are so often shown only in relation to men.
  12. Jessabelle
    Rather than commit to exploring Jessabelle's existential crisis, the filmmakers opt to pile on the clichés straight until the rotten denouement.
  13. Rage
    Paco Cabezas's film is little more than a revenge relic pretending that the ethical treatise of David Cronenberg's A History of Violence never happened.
  14. The Hornet's Nest
    It becomes clear pretty quickly that Mike and Carlos Boettcher's insider perspective allows for close to no context beyond what their cameras directly capture.
  15. Cabin Fever: Patient Zero
    This is less a movie than a dutiful renewal of a recognizable title's licensing rights.
  16. Miss Lovely
    The women of the film certainly deserve better, as they're often relegated to the role of victim, harmed or murdered simply to propel the plot along.
  17. Jackpot
    Guy Ritchie may have creatively moved on from his Tarantino-inspired debut, but international crime cinema has not, as again evidenced by Magnus Martens's film.
  18. Affluenza
    The film is like an episode of Gossip Girl that's mistaken itself for one of the great satires by Evelyn Waugh.
  19. The Best of Me
    Even permitting that the movie's setup counts almost by default as one of Nicholas Sparks's more complicated scenarios, that makes his failure to draw up compelling, flawed, human characters all the more conspicuous.
  20. Ragnarok
    In the end, any and all potential B-movie fun is extinguished by Ragnarok's depressingly listless anonymity.
  21. Fanny
    The characters, the sets, and the scenes all exist to propagate the notion that pleasure derives from repetition and remediation.
  22. Hector and the Search for Happiness
    It culminates in a weepy climax that verifies its status as a proud hunk of propaganda from America's massive self-help industry.
  23. Louder Than Words
    Never once does it project an intuitive understanding of how humans would behave or react in the midst of such a shattering misfortune.
  24. Last Weekend
    The filmmakers are content to idealize everyone's unchecked narcissism and idle privilege--an inquiry-free recipe for disaster in an age when the American wealth gap is wider and more detrimental than ever.
  25. Sinister 2
    It merely exudes an aura of cheap manipulation by which the audience is simply asked to rank the film's characters on a d-bag scale and root for their survival, or destruction, accordingly.
  26. Two Night Stand
    It's attempt at conveying a candid portrait of contemporary hookup culture and the dishonesty of online dating profiles, but the film's sentiments are all past their expiration date.
  27. Coldwater
    It comes as no surprise that writer-director Vincent Grashaw wrote the first draft of this movie soon after graduating high school.
  28. I Am Happiness on Earth
    If the film defies conventional form, it does so without the gravitas that conceptual cohesion brings, quickly rendering its experimentation into gratuitous aesthetic masturbation.
  29. Ben-Hur
    Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
  30. The Damned
    From its first draw of blood onward, it bolts down a foreseeable slasher-movie trajectory, laying on thick the dramatic irony while constantly inventing new reasons to punish its characters for old iniquities.
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