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. Fantastic Four
    It adds more grist for the mill to the notion that studios don't hit the big red "reboot" button in any other state than a panic.
  2. Orca
    A bald rehash of Jaws, only with the Moby Dick elements played up even further, Orca isn’t a cheap thrill (producer Dino Di Laurentiis was also the man behind the idiotic-but-exhilarating King Kong remake), but it sure does seem like it’s in a rush to finish.
    • 26 Metascore
    • 63 Critic Score
    Tyler Perry's Temptation
    When its third act erupts into full-blown theatrical maximalism, Tyler Perry's Temptation practically turns into Brian De Palma's Temptation.
  4. Dolittle
    Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
  5. The Choice
    Most Nicholas Sparks adaptations say, in cinematic terms, nothing so complicated as "roses are red." This one just points to a garden and shrugs.
  6. The Ottoman Lieutenant
    More conspicuous than its rote melodrama is the way the film elides the concurrent genocide of ethnic Armenians by Ottoman forces.
  7. Borderlands
    The film makes mind-boggling choices for an adaptation of a game series so inseparable from its obnoxiously rough-and-tumble tone, characters, and humor.
  8. Rio, I Love You
    The hygienization of Rio into what at times looks like a soulless Southern California town is so scandalous it feels like a spoof of the Cities of Love series.
    • 26 Metascore
    • 25 Critic Score
    The Reunion
    Importing WWE's brand of hokey fighting--the most memorable scene, during which Cena jumps from a ledge onto a helicoper, recalls in-the-ring rope-jumping than anything else--into a place where there is an alarming amount of real bloodshed seems unnecessary and somewhat imperious.
  10. Madame Web
    Madame Web grinds to a halt as it gets bogged down in scene after scene of characters, both good and bad, standing around explaining their backgrounds, hang-ups, and desires.
  11. Friday the 13th Part 2
    By now, everyone knows what to expect from this kind of movie, but what’s surprising is how the low-budget rawness, cheap film stock bubbling over with grain, and washed-out lighting schemes give the film a kind of base in reality.
  12. The Best and the Brightest
    Writer-director Josh Shelov (working with co-writer Michael Jaeger) is trolling in fertile, easy territory, but rather than mine the subject for what it's worth, he resorts to depressingly cheap mistaken-identity shenanigans and raunchy "he-milk" gags.
  13. Reclaim
    Reclaim's highly mechanized plot ensures that the film is over before it even ends.
  14. Pawn Shop Chronicles
    Wayne Kramer thankfully refuses to cloak his excessiveness in hedge-betting self-consciousness and the result is a gratifyingly disreputable B-movie blow out.
  15. I Melt with You
    The only thing more narcissistically indulgent than the film's repugnant protagonists is Mark Pellington's iPod-scored, visually flashy, thoroughly hollow directorial celebration of them.
  16. Alien Outpost
    The film splits its time evenly between half-heartedly pretending it's an allegory for our current war on terror and pretending that it's not.
  17. Freelance
    By its conclusion, what we’re left with is a cinematic Frankenstein, whose disparate genre elements have been cobbled together without much consideration or fuss.
  18. No One Lives
    Ryuhei Kitamura's latest genre bloodbath is par for the course, in spite of the occasionally flourish of interesting subtext.
  19. Taken 3
    Empowerment porn for those who long for the Cold War's clarity of purpose and American dominance in this murky age of terror.
  20. Rambo: Last Blood
    The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.
  21. Hatchet III
    BJ McDonnell, too hesitant to stray from the beaten path set by Green's previous films, lacks the looser, more whimsical hand that would have allowed Hatchet III to transcend its thoughtlessly imitative state.
  22. The Misfits
    The film is almost refreshing in its flightiness, even as it remains defiantly ignorant of the world in which it exists.
  23. Bad Johnson
    Huck Botko's film asks us to laugh at, even revel in, the misadventures of womanizing men, even as it condemns them for their behavior.
  24. The Identical
    The film's so preoccupied with being "inspirational" that it disastrously fails to evoke the allure of rock n' roll, particularly in America in the 1950s, when it represented an erosion of racial and sexual barriers.
  25. Honeyglue
    It's more interested in borrowing terminal cancer as a narrative shorthand for intensity than investigating it as a lived experience.
    • 25 Metascore
    • 50 Critic Score
    The Hills Have Eyes Part II
    Wes Craven’s The Hills Have Eyes Part 2 is a bland, bloodless shambles. Sequel-making of the laziest sort, it’s nothing more than a perfunctory, undisguised cash-grab.
  27. Legends of Oz: Dorothy's Return
    With dubious scruples, and much Broadway-style caterwauling, the film imagines what The Wizard of Oz would look like with a should-have-gone-straight-to-video chimney on her.
  28. Arsenal
    It's a misnomer to label the climax of Steven C. Miller's patently sick Arsenal an actual climax.
  29. Killing Season
    Mark Steven Johnson's Killing Season is a hard movie to take seriously, which is particularly unfortunate since it deals with such weighty issues as genocide, the ethical compromises that everyone makes in combat, and the lingering effects of wartime decisions on participants years down the line.
  30. My Dead Boyfriend
    Slacker that it is, the film never seems willing to put in the necessary work to live up to its potential.
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