Slant Magazine's Scores

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For 7,772 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. The Big Wedding
    For a movie ultimately about what freaks we all are behind the fronts we build for the sake of normalcy, the apathetically performed The Big Wedding couldn't possibly be more square.
  2. The Strangers: Chapter 2
    Mostly notable for its distracting resemblance to Rick Rosenthal’s Halloween II, Chapter 2 suggests for a while a needlessly extended epilogue to the first film.
  3. Supremacy
    The characters shout themselves hoarse, but they don't really say anything, and it isn't long before we feel like hostages ourselves, bound by the filmmakers' strained moral outrage.
  4. Man Down
    Dito Montiel's silly plot machinations waste a solid performance from Shia LaBeouf.
  5. The Bag Man
    The premise might make sense, if only hypocritically, but the film abandons this already flimsy parody of macho pride disastrously at the last minute.
  6. A Glimpse Inside the Mind of Charles Swan III
    The film speeds ahead with almost gleeful disinterest in dealing with the narrative challenges it sets up before resolving them in the most perfunctory ways imaginable.
  7. Hangar 10
    It's easy to see how Daniel Simpson's desire to return the found-footage genre to its roots resulted in cheap imitation.
  8. Fifty Shades of Black
    An aimless, if sporadically clever, parody that tirelessly conceives of human sexuality as punchlines for its shortsighted cultural ribbings.
  9. 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.
  10. Survivor
    This is the kind of filmmaking that gets touted as "workmanlike" when it's really straight-laced to the point of tepidness.
    • 28 Metascore
    • 25 Critic Score
    As Cool as I Am
    The film is the cinematic equivalent of a teenager, making everything more melodramatic than it needs to be, and impatient with the subtle details of life.
  12. Cam2Cam
    Lost in this barely coherent and clichéd hugger-mugger is the initial killer-website conceit and the attending erotic dread, which is retrospectively revealed to be an illusory siren call.
  13. Amityville 3-D
    Amityville 3-D—one-dimensional in every way but its hokey visuals—is too poorly written, awkwardly staged, and pathologically stupid to register as campy fun.
  14. Pixels
    This is a Happy Madison production, and as such it's exhaustively lazy, outside of its righteous dedication to the valorization of the man-child.
    • 27 Metascore
    • 38 Critic Score
    Stranded
    It may suggest an Alien incarnate, but once you get past its exterior, it's as empty as outer space.
  16. Jiu Jitsu
    Nicolas Cage’s amusing turn as a kooky hermit with an affinity for newspaper hats often feels awkwardly spliced into the film.
  17. Fool's Paradise
    The film sprints past its targets, dealing glancing blows to subjects that have already been obliterated by decades’ worth of Tinseltown parodies.
  18. Last Knights
    Another macho celebration of fighting for "freedom" because someone else told you to, devoid of any acknowledgement of the inherent irony of that ideology.
  19. A Green Story
    Writer-director Nika Agiashvili buys into the concept of the American dream with the zeal of a true believer.
  20. Hello Herman
    The alignment with Herman's perspective, even as it never downplays the gravity of his crimes, leads the film into a set of obvious conclusions.
  21. Nina
    The film is committed to the sort of broad strokes that reduce a great artist's life to a spectacle of self-pity.
    • 27 Metascore
    • 88 Critic Score
    The Bonfire of the Vanities
    For all its polish, Bonfire of the Vanities neither sustains the feverish, revolutionary energy nor reaches the visceral peak of Hi, Mom! But as major Hollywood pictures go, it can become stunningly hot-tempered, a quality most journalists are too quick to ignore.
  23. Dangerous
    Dangerous betrays the promise of its title by playing things extremely safe.
  24. The Happytime Murders
    The film aims only to shock, refusing to deliver anything in an intriguingly post-ironic way in the process.
  25. Blacklight
    Instead of elaborating its plot, Blacklight offers up repetitious, dialogue-driven scenes that deliver only the shallowest of exposition, advancing the story at a sluggish pace.
    • 27 Metascore
    • 0 Critic Score
    Cherkess
    But that hardly matters, as Cherkess is so inept it inspires appreciation of the craft that goes into even grade-B romantic melodrama such as last year's "The Other Woman."
  27. Transformers: The Last Knight
    The sensory overload of Michael Bay's hyperkinetic cinema is such that it eradicates any actual sense of place.
  28. The Darkness
    This enterprise is so listless that one can't even work up a proper head of self-righteous steam over the spooky Native American clichés that drive the plot.
  29. Bound to Vengeance
    It trivializes victim trauma by treating its main character's best-laid plans as punchline fodder.
  30. Playing for Keeps
    Gabriele Muccino's film is knee-deep in "don't hate the player, hate the game" territory.
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