Slant Magazine's Scores

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For 7,769 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 6.5 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: 4,345 out of 7769
  2. Mixed: 1,491 out of 7769
  3. Negative: 1,933 out of 7769
7769 movie reviews
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  1. Hacksaw Ridge
    This is a work of defiantly simplistic, classically structured Hollywood storytelling, and Mel Gibson takes to its hokey plot points with some gusto.
  2. Inferno
    It's impossible to even laugh at Inferno given how Ron Howard reduces the material to a dull spectacle of earnest puzzle-solving.
  3. Portrait of a Garden
    Portrait of a Garden‘s distance from its human subjects forestalls the film’s momentum and strips it of a heart.
  4. Gimme Danger
    The film reveals the erudition and shrewd self-awareness that Jim Osterberg drew on to become Iggy Pop.
  5. Into the Inferno
    The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that's surprisingly conventional by his standards.
  6. By Sidney Lumet
    Its strength lies in taking a thematic approach to Lumet's work, which prevents a chronological rattling off of one title after another.
  7. The Eagle Huntress
    Aisholpan’s liberation is a harbinger of the growing pressure that the outside world exerts on a once isolated community.
  8. The Edge of Seventeen
    The smartest thing about Kelly Fremon Craig's teen dramedy is its measured take on its protagonist's theatrics.
  9. The Unspoken
    It feels like Sheldon Wilson tossed a bunch of third-hand scares in a blender and set it to puree, resulting in a gray, flavorless sludge.
  10. Creepy
    In terms of formal orchestration, Creepy is as sublime as any prior Kiyoshi Kurosawa film.
  11. Jack Reacher: Never Go Back
    The visual blandness of Edward Zwick’s style and the simplistic, easily solved case is better suited for television.
  12. 31
    It collapses into repetition and unintended self-parody, as it's devoid of the subtext and empathetic audacity.
  13. Keeping Up with the Joneses
    By the time the film limps toward its Marrakech-set epilogue epilogue, its experiment in social osmosis is as much a failure as its B-sitcom-grade yuks.
  14. King Cobra
    It’s difficult to find a reason for the film's existence beyond a spoiled platform for James Franco's ersatz boldness.
  15. Autumn Lights
    The film is like a landlocked Bergman chamber drama divested of any ambivalence regarding human relationships.
  16. Ouija: Origin of Evil
    The film complements its goose-pimply frights with an unabashedly naked emotional gravitas.
  17. Billy Lynn's Long Halftime Walk
    It does astounding work animating the mind of its young soldier, but it runs into technical difficulties whenever it tries to grasp the bigger picture.
  18. Before the Flood
    The documentary's focus on elite solutionism effectively erases the role of popular agitation in formulating social change.
  19. American Pastoral
    Ewan McGregor’s inert adaption smooths out the Philip Roth novel's eruptions of self-loathing and doubt.
  20. In a Valley of Violence
    The film communicates a sporadic sense of violation—of pastiche unpredictably giving way to a raw and primordially intimate emotional realm.
  21. The Whole Truth
    The filmmakers are so disengaged from the psyches of its characters that The Whole Truth ultimately plays as little more than the cinematic equivalent of a trashy airport novel that will grip you in the moment before it dissolves from memory immediately afterward.
  22. The Lost City of Z
    The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.
  23. 20th Century Women
    Mike Mills’s 20th Century Women incurs sorrow at the prospect of saying goodbye to its characters.
  24. Kevin Hart: What Now?
    At times throughout this concert film, Kevin Hart’s brash honesty about himself can feel liberating.
  25. The Handmaiden
    With The Handmaiden, Park Chan-wook has made a gigantic leap as an artist, but he retreats to lurid cartoonishness just as he’s earned your trust.
  26. Little Sister
    The film's attempt at political insight and portrayal of social malaise are meant to give it the illusion of depth.
  27. The Accountant
    The film juggles a “follow the money” procedural with corporate espionage thriller, producing two competing tones that never reconcile into one fluid narrative.
  28. Miss Hokusai
    It condenses everyday interactions, memories, and dreams into a potent mix of all the major ingredients of a well-lived life.
  29. Christine
    It largely fails to animate Christine Chubbuck's inner turmoil, focusing instead on broad, blunt externalities.
  30. Jack Goes Home
    The film veers almost at random from ghost story to family drama to erotic thriller to black comedy.
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