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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    • 33 Metascore
    • 0 Critic Score
    The Cup
    One wonders who the audience is for a film this far removed from the dirt and grime of the reality it claims to be based on, and why they find anything so squeaky-clean appealing.
    • 34 Metascore
    • 0 Critic Score
    Sexual Chronicles of a French Family
    Its scope is too limited for it to muster much of a response in us beyond basic titillation. And there are plenty of better places to go for that.
  3. Knockdown
    The film is a tedious narrative shambles that's almost hilariously unaware of its racism and sexism.
    • 33 Metascore
    • 0 Critic Score
    Rites of Spring
    Padraig Reynolds's film has no interest in self-awareness, and in fact wears stupidity as a sort of badge of honor.
  5. The Victim
    Not much happens in The Victim, but the events that do manage to transpire consistently support a reading of the film as an older man's fantasy of virility.
  6. The Oranges
    As much as the dialogue in the film voices an attitude of self-liberation and champions the positives of severing accepted social constraints, it seems to be constantly taking one step forward and two steps back.
  7. Least Among Saints
    As a portrait of a self-pitying drunk's wet dream of inexplicable atonement, it's fairly effective, but as a story meant to take place on some rational version of planet Earth, it's utterly hopeless.
    • 45 Metascore
    • 0 Critic Score
    A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
    Graham Chapman's story, frankly, is better served by his Wikipedia page.
  9. Struck by Lightning
    A class-five pity party so unbearably condescending and unconvincing that it might just make you run out and buy an "I'm With Mitt" t-shirt, it makes an inadvertent but hugely compelling pro-bullying argument.
  10. Saving Grace B. Jones
    This cumbersome and graceless 1950s-set period drama possesses the reactionary life insights and amateurish production values of a Lifetime soap.
  11. Jobs
    Steered by a lead actor and director, Joshua Michael Stern, who are both way out of their respective leagues, Jobs is excruciating, failing to entertain and all but pissing on its subject's grave.
  12. Scatter My Ashes at Bergdorf's
    Matthew Miele has made a department store of a documentary, stocked to the hilt with an obscene inventory of storylines, talking heads, and utterly tasteless choices.
    • 38 Metascore
    • 0 Critic Score
    Girl Most Likely
    Shari Springer Berman and Robert Pulcini's dismal, D-grade sitcom isn't fit to lick the boots of Whit Stillman's four films.
  14. 33 Postcards
    Pauline Chan's film is a jumbled mixture of redemptive uplift and genre hijinks.
    • 38 Metascore
    • 0 Critic Score
    2 Jacks
    The embarrassingly low production value of Bernard Rose's 2 Jacks works symbiotically with the film's botched performances.
  16. Gimme Shelter
    Writer-director Ron Krauss's Gimme Shelter is wretched long before its odious ulterior motives come to light.
  17. 10 Rules for Sleeping Around
    For a film so bent on naturalizing the presumably hilarious incongruity of "the sexes," it sure features lots and lots of that site of horror: a naked male body. And for comedic purposes, of course.
  18. Third Person
    If the glue holding Crash's arcs together was Paul Haggis's belief in the power of racism, this time it's love.
  19. The Moment
    The film is a hybrid of a Lifetime movie focused on a "strong woman," a run-of-the-mill murder mystery, and a yogurt commercial from hell.
  20. Nothing Bad Can Happen
    A film so comprehensively miscalculated in its desire to be a batshit think piece that it potentially creates a new category of offense.
  21. America: Imagine a World Without Her
    Beholden to the same plethora of taboos, half-truths, and outright lies traded en masse by mainstream conservatism for the last seven years.
  22. Persecuted
    There's no attempt to convince us that the world is being corrupted by people who haven't accepted the Gospel; it merely assumes we agree with that idea.
  23. 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.
  24. Independence Day: Resurgence
    Emmerich rewards our patience with an impersonally massive set piece involving the usual generic stew of mass CGI-imagined demolition. The insensitivity displayed toward human life in these sequences would be galling even by Emmerich's standards, if this pitiful albatross of corporate capitalism could work up enough energy to be offensive.
  25. Always Woodstock
    The filmmakers play Catherine's disgustingly narcissistic sense of entitlement as endemic to the supposedly girl-next-door charms befitting the film's thoroughly normative gender politics.
  26. No Escape
    The only way that this film could be any more racist is if the Dwyer family holed up with Lillian Gish and waited for the Klan to save them.
  27. Accidental Love
    So flimsily constructed, visually and narratively, that it resembles a middle-school play that's been hastily filmed on an antique camcorder.
  28. Queen of the Desert
    Throughout Queen of the Desert's narrative, there's no sense of danger, of texture, or even of a rudimentary idea of what's truly driving Gertrude Bell.
  29. The Human Centipede III (Final Sequence)
    Tom Six has achieved the seemingly impossible: He's made a film even less watchable than "The Human Centipede II."
  30. Skin Trade
    There's no beauty to this film, little rhythm, none of the physical grace that action-film fans crave even if they don't know they do.
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