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. The Public
    The film is a clunky, overwritten attempt to pack as many tortured subplots and pre-chewed sociological insights as can possibly fit into a two-hour runtime.
  2. 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.
  3. The King's Man
    The film is so caught up in its own idea of national exceptionalism that its tagline might as well be Make England Great Again.
  4. The Curse of La Llorona
    With The Curse of La Llorona, the Conjuring universe has damned itself to an eternal cycle of rinse and repeat.
  5. Aladdin
    Guy Ritchie’s live-action remake is content to trace the original’s narrative beats with perfunctory indifference.
  6. The Best of Enemies
    The Best of Enemies may be based on a true story, but in so stubbornly turning the spotlight away from Atwater and the radical, grind-it-out community activism that took on the racism that Ellis helped to foster as a segregationist, it more accurately resembles an all-too-familiar Hollywood tall tale.
  7. Brightburn
    The way the film shuttles through its 90 minutes, it’s as if it’s been stripped of its most crucial narrative parts.
  8. Shaft
    Ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.
  9. Outlaws
    The grim Australian biker drama Outlaws is little more than an endless stream of brooding, yelling, and “badass” posturing broken up by grisly violence and gratuitous sex scenes.
  10. The Devil All the Time
    Every moment in The Devil All the Time is meant to be a galvanic, preachifying high point, and so the characters aren’t allowed to reveal themselves apart from the dictates of the plot. One can scarcely imagine a duller lot of sacrificial lambs.
  11. Ghostbusters: Afterlife
    Though flattering through and through, the film is ironically removed from the charms of the worshipped original.
  12. After the Wedding
    The film diverts us away from its hint of a social message using a series of tired twists and turns that don’t signify much of anything.
  13. The Haunting of Sharon Tate
    In a film that features Charles Manson and his disciples, there’s something unsavory about presenting Sharon Tate as one of the crazy ones.
  14. Tom Clancy’s Without Remorse
    The film is a disastrous amalgamation of modern-day tech-savvy thrills and Clancy’s conservative expressions of patriotism.
  15. Ma
    In the end, the filmmakers settle for stigmatizing victimhood, abusing Sue Ann almost as much as her former tormentors.
  16. Space Jam: A New Legacy
    As soon as LeBron and Dom are sucked into computer space, A New Legacy largely abandons its underlying criticism of soulless corporate regurgitation of art-as-product and instead becomes an exhausting tour through the Warner Bros. catalog.
  17. Lucy in the Sky
    Noah Hawley treats his protagonist’s story as a somber tragedy that at times stoops to trashiness.
  18. Perfect
    Eddie Alcazar’s film is a purposefully inscrutable, wandering, disconnected, symbolic, and highly precious mood bath.
  19. 21 Bridges
    It’s difficult to imagine a worse time to release Brian Kirk’s 21 Bridges than the present.
  20. Stuber
    More than its violence, the film is defined by its vileness, its straight-faced attachment to outmoded ideas about masculinity and law enforcement.
  21. The Garbage Pail Kids Movie
    Imagine parents sitting in the audience with their naughty children (who used their Cabbage Patch dolls as driveway obstructions for their Big Wheel obstacle courses) and feeling ruefully double-crassed.
  22. Jumanji: The Next Level
    For all the emphasis on video game characters who can be swapped out on a whim, it’s the players themselves who come across as the most thinly drawn and interchangeable beneath their avatars.
  23. Thor: Love and Thunder
    Across Taika Waititi’s film, a war against the gods feels like an afterthought to a bad rom-com.
  24. Countdown
    If there’s an ethos that Justin Dec’s film believes in, it’s only that “death sucks.”
    • 51 Metascore
    • 25 Critic Score
    The Gentlemen
    The London of this film is practically a match for Guy Ritchie’s filmmaking: a characterless mockery of its former glories, smooth and bland and just a bit more monied than before.
  26. Let Him Go
    Despite a searing performance from Diane Lane, writer-director Thomas Bezucha’s film ultimately self-immolates.
  27. We Summon the Darkness
    The film’s cat-and-mouse antics play out with no sense of escalation or invention.
  28. Infinite
    Symptomatic of the Marvel-ization of modern action cinema, the film seems to exist mostly as an advertisement for future product.
  29. Unhinged
    Unhinged is essentially a nihilistic, style-free destructo-rama that’s designed to make us feel like shit.
  30. Ghosts of War
    The film’s unreflective earnestness is haunting in all the wrong ways.
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