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. Cats
    This adaptation gets straight to the heart of the material, which is basically two hours of stray cats introducing themselves.
  2. My Name Is Hmmm...
    The feeling here was perhaps intended to be impressionistic and elusive, but the result is instead rambling and unfocused.
  3. Every Breath You Take
    Sam Claflin is best in show, but his performance is undercut by the film’s inability to escalate or explore the ramifications of its premise.
  4. Cas & Dylan
    The film simply mucks up its earnest take on the buddy movie with undercooked characters and on-the-nose writing.
  5. The Oogieloves in the Big Balloon Adventure
    Enduring this brainless kid's film is akin to witnessing the end of the world.
  6. 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.
  7. 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.
  8. Firestarter
    This new Firestarter is an almost anachronistically short production whose elements just sit there like mishandled kindling.
  9. As Luck Would Have It
    Álex de la Iglesia's film hammers home the opinion that family is more important than celebrity or wealth.
  10. Robin Hood
    Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
  11. Navajo Joe
    Navajo Joe plays more like a ’50s B western in its fluid pacing, compact narrative construction, and hokey emphasis on star power than it does the kinds of sprawling genre re-workings common to its era.
  12. Love Again
    The film is nothing but a chintzy promotional tool for Celine Dion.
  13. The Unbelievers
    It ably captures the provocative open forums that Richard Dawkins and Lawrence Krauss conduct, but its uneven nature occasionally dulls the effect of these intellectually stimulating conversations.
  14. The Forger
    A sluggish, obvious fusion of a disease-of-the-week tearjerker with a comedic family crime romp that abounds in stiflingly over-emphasized Boston-crime-movie details.
  15. The Transporter Refueled
    The titular Transporter is now but a blank slate serving the characters and mayhem surrounding him, a walking metaphor for a franchise that's run out of gas.
  16. The Viral Factor
    The apparent byproduct of watching too much Bad Boys II, The Viral Factor is a cops-and-criminals saga slathered in glossy Michael Bay-isms.
  17. Wish Upon
    The only wish that ends up satisfyingly granted is, in Wish Upon's final and utterly predictable tableau, the audience's.
  18. Lucky Stiff
    Its irritatingly saccharine tone is such that it shuns grappling with certain characters' dubious and perverse behaviors.
  19. The Kindness of Strangers
    The film’s repetitive and lifeless dialogue robs otherwise charismatic performers of distinguishing characteristics.
  20. Unfinished Business
    The whole point of Vince Vaughn's cinematic existence is that he's a paragon for reformed chauvinism. He's an irrepressible but highly tamable id. Not so here.
  21. The Hitman's Wife's Bodyguard
    The Hitman’s Wife’s Bodyguard improves on its 2017 predecessor only insofar as it runs 20 minutes shorter.
  22. Chernobyl Diaries
    With the faux-verité aesthetics of [Rec], the American-tourists-in-Eastern-European-hell setup of Hostel, and the brain of a mushy radioactive mutant zombie thingie, Chernobyl Diaries is little more than decomposed horror leftovers.
  23. Xanadu
    While the soundtrack is evenly split between Newton-John ballads and power-pop from ELO, neither of which sounded particularly revolutionary at the turn of the decade, Xanadu's collage of musical styles and fads inadvertently suggests the utopia of post-disco no wave, hip-hop's emerging legacy of sampling and the DIY spirit of mash-ups. (I mean, if you want to be kind.)
    • 31 Metascore
    • 12 Critic Score
    Just 45 Minutes from Broadway
    Henry Jaglom applies what must by now qualify as a tradition of pointless agitation to the disruption of theater. Unsurprisingly, the results are disastrous.
  25. Dying of the Light
    Paul Schrader's personality reveals itself in the film's joylessness, which is meaningless without the director's accompanying and occasionally poignant existentialism.
  26. Charlie Countryman
    An egregious entry into the pantheon of films about white Americans traveling to exotic lands in search of identity and soul-searching adventure.
  27. Mary
    With the filmmakers unwilling to explore a kinky, psychosexual bond between a man and his demonic lady ghost-boat, Mary comes to feel as if lacks a through line, collapsing into a series of disconnected horror-movie beats.
  28. The King's Daughter
    The film provides no space to explore its relationships, and as a result there’s little friction to the climax.
  29. Before We Go
    The setup is so familiar that frustration sets in before the title has barely faded from view.
  30. Fifty Shades Freed
    James Foley’s film suggests that any semblance of capitulation on Christian’s part is a win for Ana and women at large, even if that momentary triumph leads to a further sacrifice of Ana’s independence.
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