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. Life
    Life, an incredibly square and familiar studio product, baits and switches on two disappointing propositions, moving swiftly from something expectedly cliché to something dismayingly derivative.
  2. Being Charlie
    Most of the film's characters are unconvincing, flattened out by Charlie's self-focused lens.
    • 53 Metascore
    • 25 Critic Score
    Bang Gang (A Modern Love Story)
    Eva Husson's controversy-courting debut is neither as lewdly subversive or as raucously debauched as its provocative title.
  4. ma ma
    Julio Medem's film has enough hanky-courting plot mechanics for three remakes of Beaches.
  5. From the Land of the Moon
    The film is so humorless and in love with its own obviousness that it grows laughable.
  6. Insidious: The Last Key
    The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome.
  7. My Love, Don't Cross That River
    Jin Mo-young fetishizes his subjects' wholly modest behaviors as cute manifestations of a pure form of human interaction.
  8. The Grinch
    The film’s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.
  9. Tomb Raider
    This isn’t an adaptation of a video game so much as an adaptation of a video game’s tutorial level.
  10. Table 19
    Each of Table 19‘s faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.
  11. The 9th Life of Louis Drax
    Every incident in the film is a time-bidding maneuver, completely and unimaginatively untethered from logic.
  12. For the Plasma
    The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake.
  13. Rupture
    It attempts to dress up torture-porn tropes with a late-inning switch to science fiction that spectacularly backfires.
  14. Mr. Church
    Bruce Beresford's film is remarkable for how it manages to indulge so many offensive and shopworn clichés at once.
  15. Brimstone
    Its bid for social correctness does nothing to make the juvenile and numbing fixation on brutality any more palatable.
  16. Jack Goes Home
    The film veers almost at random from ghost story to family drama to erotic thriller to black comedy.
  17. Come What May
    Christian Carion's film shamelessly wrings excitement from the recreation of violent ideological conflict.
  18. The Human Surge
    The film’s default state is an ambient inertia that gestures vaguely in multiple directions without concerning itself with the hard work of constructing an argument, a convincing milieu, or even a compelling mood.
  19. Lady Macbeth
    It isn't until its final moments that Lady Macbeth turns into the kind of meaningless, mean-spirited, and proudly irredeemable non-character study that likens it to, say, last year's emptily foreboding Childhood of a Leader.
  20. Mute
    Mute is so slow and arbitrarily over-plotted that it's difficult to believe that Jones also directed the spry and enjoyable Moon and Source Code.
  21. The Hollow Point
    Gonzalo López-Gallego's direction isn't confident enough to allow us to ignore The Hollow Point's contrivances.
  22. Mulan
    Walt Disney’s Mulan remake perfunctorily recycles the worst aspects of the 1998 animated version and roundly fails to convincingly execute the few deviations that it does attempt.
  23. The Comedian
    Nearly everything in Taylor Hackford's tin-eared comedy is as ersatz as the Robert De Diro character's rage is real.
  24. Life on the Line
    For a film about such a singular profession, Life on the Line offers surprisingly little insight into linemen's day-to-day labor.
  25. 100 Streets
    Throughout the film's three interconnected stories, Jim O'Hanlon favors the blunt, maudlin manipulations of Crash.
  26. The Last Word
    Its main character's transformation isn't significant enough to justify her complete redemption in the eyes of those around her.
  27. Videophilia (and Other Viral Syndromes)
    What the film embodies, unfortunately, the listlessness of its slacker characters.
  28. Sleight
    Sleight never shows much interest in exploring how blackness can inform its genre's tropes.
  29. Friend Request
    The viewer anticipates satire from such a sociologically loaded premise, but director Simon Verhoeven and co-writers Matthew Ballen and Philip Koch predictably utilize Facebook for the purpose of superficially spit-shining another wanly Americanized J-horror retread.
  30. Alone in Berlin
    The film attempts a tone of tragic understatement that registers instead as flat, plodding, and underfelt.
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