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. Submergence
    Submergence's globetrotting only succeeds at exposing the hollowness of the characters at the film's center.
  2. The Rhythm Section
    The film’s occasional gestures toward pseudo-feminist empowerment only compound the hollowness of its protagonist.
  3. A Bride for Rip Van Winkle
    The film is an interminable saga full of soap-operatic plot twists involving quickly broken marriages, sexual assault, a secret porn career, terminal illness, and a quasi lesbian love affair.
  4. Overboard
    All of the broad physical humor in the world can't distract from the fact that the film is an endorsement of psychological exploitation.
  5. The Spy Who Dumped Me
    There's an appealingly shaggy buddy comedy hidden somewhere inside of The Spy Who Dumped Me, but good luck finding it amid all the desperate poop jokes, lifeless action sequences, and lazy plot mechanics.
  6. The Vanishing Of Sidney Hall
    The seesaw of effect of oscillating between extolling Sidney’s genius and lingering on his anguish begins to feel like a child slowly burning an ant with a magnifying glass, occasionally taking breaks to truly savor the harm he or she is committing.
  7. Breaking In
    James McTeigue's Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.
  8. Unicorn Store
    Brie Larson’s directorial debut is nothing so much as a series of quirks.
  9. The Competition
    The will-they-won't-they of the film is a non-starter, and as such the film's climax is stripped of suspense and even the most basic of dramatic payoffs.
    • 43 Metascore
    • 25 Critic Score
    Bleeding Steel
    A film so brazen in its desire to reach a wide audience that it plays like a compilation of disparate action set pieces, each shamelessly stolen from successful Hollywood franchises.
  11. The Miseducation of Cameron Post
    The film's refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation.
  12. Nancy
    There's vanity in its boutique art-film brand of hopelessness, which derives from a fetishizing of "keeping it real."
  13. Serenity
    The film’s twist ending exists only to retroactively justify writer-director Steven Knight’s feeble stylistic choices.
  14. 1985
    Adrian is too flat as a character, his plight too generic, for his tears to count as something other than a sentimental ready-made.
  15. Terminal
    Terminal's actors are awkward and stiff in trying to project hard-boiled cool, and all while delivering lines that sound as if they had been passed multiple times through an online translation tool.
  16. Dog Days
    Aside from the occasional idiosyncratic comic beat, Dog Days remains committed to coloring within the lines of established tropes in the animal-centric family film.
  17. Replicas
    The climax’s bizarre left turns culminate in a final image so bewildering that were the film not so relentlessly dour it might have clarified Replicas as an absurdist comedy.
  18. Kin
    Jonathan and Josh Baker's Kin, a feature that comprises little more than an extended introduction to its characters, resembles a TV pilot that's been released into theaters as a standalone property.
  19. Peppermint
    Pierre Morel's first feature film set in the United States is brainless propaganda for the MAGA market.
  20. The House with a Clock in Its Walls
    The final act of The House with a Clock in Its Walls stumbles between awkward, telegraphed jolts and busy, effects-heavy action, completely losing sight of the trauma and grief that was meant to give the film its emotional core.
  21. Johnny English Strikes Again
    Relying on such arcane gags as prat falls in knight’s armor, fake French accents, and an array of gadget-based explosions, Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
  22. Second Act
    A blatantly telegraphed mid-film twist helps turn Second Act into one of the strangest and most misguided rom-coms of any year.
  23. The Grudge
    Nicolas Pesce evincing little of the promise he showed in his prior films, and even less drive to remake the old into something new.
  24. The Misandrists
    The sexual outbursts in the film are tempered with a tenderness that one hardly associates with Bruce LaBruce's career.
  25. Far from the Tree
    The very act of having kids and demanding perfect conformity from them is never questioned by the film.
  26. Like a Boss
    Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
  27. Siberia
    The film has the tone and look of a direct-to-video feature, and some shots of Keanu Reeves are so waxen that the actor almost looks rotoscoped.
  28. The Hustle
    Like other gender-swapped films in recent years, The Hustle plays the identity politics game as an end in itself.
  29. Maleficent: Mistress of Evil
    In transforming folk metaphors into utilitarian attributes of an action hero, Disney exposes the emptiness of their product.
  30. Vox Lux
    Vox Lux sets up its main character as a beneficiary of tragedy, opening up a compellingly macabre narrative about how school shootings are becoming so commonplace that they can effectively serve as launchpads for stardom. But that idea goes nowhere, as Vox Lux proceeds to play Celeste's experience in the music industry mostly straight.
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