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. Annie
    2014: Annie's America makes director John Huston's elephantine, synthetically charismatic 1982 adaptation look like a Minnelliesque model of focus and concision.
  2. The Ritual
    Like any number of Exorcist wannabes, David Midell’s film is a special kind of hell.
    • 33 Metascore
    • 12 Critic Score
    My Lucky Star
    Yet another limp spy spoof that fails to make any interesting critiques about the genre, let alone construct a humorous gag.
  4. Fifty Shades Darker
    Fifty Shades Darker takes the Dark Knight approach to franchise maintenance, taking pains to assure you that its protagonists are serious about their passions.
  5. Regretting You
    The decision to have Allison Williams and Dave Franco, both in their late 30s when the film was shot, play their characters as teens may be the most egregious example of Regretting You’s indifference to verisimilitude.
  6. About Cherry
    The lack of plausible conflict mars the movie's highly commendable depiction of San Francisco as a the new porn capital.
  7. After Earth
    The art of storytelling is both of distinct narrative interest and personal issue in the latest payload of calcified nonsense from one of modern cinema's oddest would-be auteurs.
    • 33 Metascore
    • 0 Critic Score
    The Cup
    One wonders who the audience is for a film this far removed from the dirt and grime of the reality it claims to be based on, and why they find anything so squeaky-clean appealing.
  9. 37
    There's a fundamental lack of dramatic exigency in writer-director Puk Grasten's storytelling.
  10. The Mortal Instruments: City of Bones
    The movie blasts by for a while as an odd and busy slice of highly watchable garbage.
  11. Haunt
    Mac Carter repeatedly compromises his intuitive, and often elegantly framed, glances at his main characters' teenage blues by too busily going through amateur-night gesticulations of spooking his audience.
  12. The 5th Wave
    The sense that children’s attitudes toward rampant militarization are being gradually normalized is the film's objectionable given.
  13. Jenny's Wedding
    Tolerance in the film doesn't so much suggest a recognizably real epiphany as it does a moving Hallmark card.
  14. 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.
  15. Like a Boss
    Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
  16. Every Thing Will Be Fine
    The premise, of a terrible event unleavened by the easy out of someone being at fault, should be prime fodder for Wim Wenders's brand of poetic regret.
  17. Regression
    It spends a lot of time considering the fear of knowing, which may explain why Alejandro Amenábar didn’t seem to know what kind of film he was making.
  18. The Girl in the Photographs
    The film is ultimately devoted to formula, as Nick Simon discards his jumbled meta-media conceit at around the halfway mark.
  19. 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.
  20. Redeeming Love
    The film is too narrow-minded to explore the notion that a saint-like man may want to satisfy his normal carnal desires.
  21. Primal
    The film too often suggests an Under Siege that’s been pointlessly larded with critters from Jumanji.
  22. Paranoia
    Robert Luketic's supposedly down-and-dirty corporate espionage thriller undercuts itself at nearly every turn by shunning any potential relevancy.
  23. Scouts Guide to the Zombie Apocalypse
    The flick is an artless, puerile shadow of the likes of Edgar Wright and Simon Pegg's Cornetto trilogy.
  24. Impolex
    It lulls us into its reckless passivity to the point that even the comedic duds possess a languid hint of funny.
  25. Independence Day: Resurgence
    Emmerich rewards our patience with an impersonally massive set piece involving the usual generic stew of mass CGI-imagined demolition. The insensitivity displayed toward human life in these sequences would be galling even by Emmerich's standards, if this pitiful albatross of corporate capitalism could work up enough energy to be offensive.
  26. Day of the Falcon
    There's an enormous amount of perverse pleasure to be had here for those who get off on the annihilation of nuance.
  27. Least Among Saints
    As a portrait of a self-pitying drunk's wet dream of inexplicable atonement, it's fairly effective, but as a story meant to take place on some rational version of planet Earth, it's utterly hopeless.
  28. The Rambler
    Sinister, comical, aggravating, and audacious, Calvin Lee Reeder's film is nothing short of an affront.
  29. The 11th Hour
    Writer-director Anders Morgenthaler's film is practically an exercise in over-explication.
  30. 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.
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