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. The Judge
    One long trial of moral duty, and one that excuses repugnant behavior and psychological warfare in lieu of a repetitive, condescending sermon on honoring thy father.
  2. Jackass Presents: Bad Grandpa
    A choppy, feature-length progression of crude, predictable gags, the film plays like a variety show, and yet its main attraction is barely funny enough to warrant his own brief sketch.
    • 25 Metascore
    • 12 Critic Score
    Savannah
    The film is impossible to take seriously as a commemoration of Moultrie's life or Allen's prolific status because of its plethora of contrivances.
  4. Zaytoun
    It misfires in tone, depth, and political tact, dumbing down rather than providing new insights into the Israel-Palestine conflict.
  5. Winter's Tale
    Fantasy is heavily dependent on vision, which Mark Helprin had in spades, but the look of Akiva Goldsman's fantasy is limp, timid, and occasionally outright awkward.
    • 33 Metascore
    • 12 Critic Score
    My Lucky Star
    Yet another limp spy spoof that fails to make any interesting critiques about the genre, let alone construct a humorous gag.
  7. Are You Here
    The female characters on Mad Men are probably the show's strongest asset, but here they're hollow to the point of insult.
  8. Son of God
    The film plays for much of its length like a terrible sketch comedy with one-dimensional caricatures shuffling listlessly through a succession of stilted tableaux.
  9. Nurse 3D
    Rather than capture truly pained souls tangled in exuberant horror tropes, the filmmakers settle for retrograde anguish and warmed-over artistry.
  10. Crave
    The film's method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
  11. Some Velvet Morning
    To watch the film is to wonder once again why Neil LaBute was ever taken seriously as a so-called dramatist of the gulf between the sexes.
  12. Ilya and Emilia Kabakov: Enter Here
    The research that went into the film seems a largesse, but it's compromised at every turn by filmmaker Amei Wallach's sloppy, pedantic delivery.
  13. Enemies Closer
    JCVD may not say it best, but he does say it aptly, when his manically cartoonish baddie caps one murder with the assertion that "shit happens."
  14. Cold Comes the Night
    Tze Chun's film exudes no flair in rehashing the violence and suspense of its predictable noir-thriller material.
  15. The Boy Next Door
    The camera regards Guzman's buttocks and Lopez's breasts with an evasion of visual pleasure that could be blamed on the actors' nudity clauses if the entirety of the film didn't resemble a Lifetime movie embarrassed to have found its way to theaters.
    • 30 Metascore
    • 12 Critic Score
    The Right Kind of Wrong
    The film is so in love with its unoriginal premise that it can't see the forest for the trees, treating reality like an occasionally relevant prop and stalking as a sweetly romantic gesture.
  17. Jamesy Boy
    The movie adds up to little more than an interminable bildungsroman, sunk early and often by the desperately miscast Spencer Lofranco.
  18. Return to Nuke 'Em High Volume 1
    Because it actively defies and outright ridicules all notions of aesthetic intent, proper form, and moral propriety, this lazy Z-film pastiche is essentially impervious to standard critical evaluation.
  19. The Cobbler
    Thomas McCarthy evinces no interest in the people who come into Max's store and wind up as fodder for his increasingly violent and self-absorbed escapades. Not a shred.
  20. Equals
    The Drake Doremus film all comes down, simplistically and repeatedly, to “feelings make us feel alive.”
  21. The Voices
    For most of the film's running time, one mistakes the main character's callousness for the filmmakers'.
  22. Towheads
    There's but one sequence in the entire movie that offers even the slightest bit of filmmaking verve, and even this speaks to the project's essential myopia.
  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. Tasting Menu
    There's a sinister, even insidious quality to a film that insists upon using incessant food montages not as a source of passion, but fodder for class-based self-congratulation.
  25. Space Station 76
    As a space-opera lampoon, it's incoherent primarily because it's never clear what the filmmakers are attempting to spoof.
  26. Left Behind
    Left Behind is one of those films so deeply, fundamentally terrible that it feels unwittingly high-concept.
  27. The Hero of Color City
    No cartoon has ever conveyed the struggle for self-actualization with such an inexpressive sense of imagination as this cheap and glorified babysitter.
  28. Trust Me
    Almost none of the film's characters or scenarios escape feeling contrived under writer-director-star Clark Gregg's bizarro tonal shifts and plot developments.
  29. The Letters
    A brain-dead slog whose bankrupt aesthetics ironically soil the very legacy it purports to aggrandize.
  30. After
    Throughout After, the filmmakers crank the trials of the film's Valentino family up to 11, sans irony or subversion.
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