Slant Magazine's Scores

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For 7,768 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 6.2 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 7768
  2. Mixed: 1,490 out of 7768
  3. Negative: 1,933 out of 7768
7768 movie reviews
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  1. Young Ones
    It avoids the typical trappings of the genre pastiche by utilizing its clear indebtedness to numerous other films as merely a starting point, rather than an end.
  2. Rudderless
    It unnecessarily hampers itself for over an hour for the sake of a gotcha moment before finally allowing its actors to explore something more than generic grief.
  3. Birdman or (The Unexpected Virtue of Ignorance)
    It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
    • 74 Metascore
    • 88 Critic Score
    The Vanquishing of the Witch Baba Yaga
    The film becomes akin to variations on a theme, executed with visual finesse, and enhanced by its many rich textures.
  5. Summer of Blood
    Onur Tukel is able to offer a reasonably fresh spin on familiar vampire-movie tropes, giving pitiless misanthropy pedal-to-the-metal comic wit.
  6. Housebound
    You grow to feel as if you're arbitrarily changing the channel back and forth from a diverting horror film to a promising odd-couple comedy.
  7. Felony
    It reveals itself to be a profoundly cynical movie posing as a work of idealism, and it's all the more insidious because it's otherwise so bland and forgettable.
  8. One Chance
    David Frankel crams his story with predictable developments, yet he matches his subject in spirit, pushing something into the spotlight that, however unlikely, elicits irresistible glee.
  9. Fury
    The film itself is a lumbering tank of a movie, chunky, loud, and clumsy, mulching down men into meat as proof of its dramatic seriousness and gloomy worldview.
  10. Life Partners
    The romantic elements are secondary to what is essentially an astute and cleverly written dissection of a co-dependent friendship being gradually eroded by the incremental ravages of age, rivalry, and rapidly diverging personal arcs.
  11. Listen Up Philip
    By putting so much weight on his characters' speech, Alex Ross Perry's is an approach with honestly few contemporaries in American independent film.
  12. St. Vincent
    The actors create emotionally coherent and sympathetic characters from a collection of often contradictory, monumentally irresponsible, or just plain improbable actions.
  13. Dracula Untold
    It's a story arc that wouldn't be out of place on Game of Thrones, except it lacks for the HBO program's dense and surprising dramatic reflexes.
  14. 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.
  15. Dead Snow 2: Red vs. Dead
    By formally acknowledging the material's inherent silliness ad nauseam, the filmmakers have distanced themselves from the spirit of the parody, robbing it of its gruesome pleasures.
  16. Autómata
    Much like a spate of recent summer blockbusters, there's a tiring sense that every single facet of the narrative has to be rendered with truculent solemnity.
  17. Kill the Messenger
    The film devolves quickly into a pedestrian character study that basks in Gary Webb's public shaming and victimization, losing sight of the bravery and probing talent that characterized his writing.
  18. Alexander and the Terrible, Horrible, No Good, Very Bad Day
    The expansion has the unintended and unfortunate effect of doing exactly the same thing to Alexander he accused his family of doing in the first place: marginalizing him.
  19. Catch Hell
    The story allows for Ryan Phillippe to indulge in a self-deprecating brand of satire, but he can't work up enough courage to ever make his character--and, by extension, himself--the brunt of any of the film's barbs.
  20. Waiting for August
    The distinct lack of domestic drama is precisely what makes the doc so gratifying as a portrait of a family averting turmoil in spite of challenging circumstances.
  21. The Overnighters
    If it ultimately can't reconcile all that's presented in its too-brief runtime, that's largely because its situation, much like the dissonance between those involved, is comprehensibly irresolvable.
  22. The Canal
    Unlike David Lynch, Ivan Kavanagh isn't interested in catching ideas like fish, of linking the degradation of film to the degradation of consciousness.
  23. The Pact 2
    Camilla Luddington refuses to predictably foreground her character's escalating fear, allowing us instead to see that fear as being at war with her inquisitive intelligence.
  24. Inherent Vice
    The dangers of filmmakers trying to replicate a golden era rather than embrace the present are part and parcel of Inherent Vice, but the ramifications are political as well.
  25. Left Behind
    Left Behind is one of those films so deeply, fundamentally terrible that it feels unwittingly high-concept.
  26. The Good Lie
    This is a Hollywood-delivered chronicle of the immigrant experience that earns its justification through good will and tact.
  27. Annabelle
    It's all a far cry from James Wan's The Conjuring, which embraced the thrill of the paranormal even as it respected its frazzled, earthbound characters.
  28. Timbuktu
    The film's criticism isn't primarily rooted in satire, but rather in fury and condemnation for those who seek to be gods while shamefully feigning to follow and praise one god.
  29. Saint Laurent
    No matter how much Bertrand Bonello varies his split screens, triptychs, and geometric screen divisions, he forgets that one of the most fashionable virtues is knowing when to leave.
  30. The Decent One
    The Decent One operates under a discursive premise so presumptuous and flimsy that its attempted function as an experiential documentary proffers little more than a book-on-tape-on-film.
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