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 6.4 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. Dunkirk
    In devoting so much time to the dull, counterproductive mechanics of the action assembly, Dunkirk dispenses with nearly all other elements of drama.
  2. The Artist
    The Artist neatly sidesteps this unsolvable dilemma by ignoring everything that's fascinating and memorable about the era, focusing instead on a patchwork of general knowledge, so eroded of inconvenient facts that it doesn't even qualify as a roman à clef.
  3. Resurrection
    At times, Resurrection seems to outright taunt viewers for trying to make sense of it all.
  4. Aladdin
    Aladdin is ultimately less offensive than patently ridiculous, mostly because its ethnic white noise is really just an excuse for Robin Williams—as a postmodern blabbermouthed genie who grants Aladdin three wishes—to put on the most elaborate, narcissistic circus act in the history of cinema.
  5. A Ghost Story
    An empty exercise in imitative long-take aestheticism, A Ghost Story fills its distractingly round-cornered frame with endless repetitions on a visual gag.
  6. Private Life
    Instead of offering a probing, nuanced view of the burgeoning technologies and sciences involved in this relatively new outgrowth of the OBGYN industry, though, Tamara Jenkins uses her setting as fodder for lame and discomfiting physical comedy.
  7. Saint Maud
    Rose Glass utilizes a provocative scenario for a vague and deadly serious art exercise.
  8. Once Upon a Time in Anatolia
    Nuri Bilge Ceylan has to be the least kinetic of working filmmakers - and not simply in the sense of static camerawork or lack of narrative momentum.
  9. Battle Royale
    Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
    • 81 Metascore
    • 25 Critic Score
    Silver Linings Playbook
    When one stops to consider how irksomely on the nose so much of this is, the qualities which intend to most readily ingratiate the film with us begin to appear perceptibly disingenuous and false.
  11. The Secret in Their Eyes
    Billy Ray unfurls the parallel time structure with the same flat, procedural monotony applied by Juan José Campanella to the original film.
  12. Love & Mercy
    Bill Pohlad seems never to have met a metaphor he couldn't bludgeon into its most rudimentary and literal interpretation.
  13. Pride
    The film the tough true story has spawned is as formulaically cheery, didactically "uplifting," and fundamentally false as a Disney sports movie.
  14. Ava
    The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.
  15. Beasts of No Nation
    Cary Joji Fukunaga’s artistry registers less as psychological imprint than as a measure of his professional bona fides.
  16. Enough Said
    Enough can't be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener's latest articulation of white suburban anxieties.
  17. Tori and Lokita
    The film subjects its main characters to one indignity after another, and to such a suffocating degree that it crosses the line between representation and exploitation.
  18. Gloria Bell
    The film’s open-ended narrative tends to be undermined by the simplicity of its thematic signifiers.
  19. Avengers: Endgame
    Every serious narrative beat in the film is ultimately undercut by pro-forma storytelling, or by faux-improvised humor.
  20. The Tribe
    The film is more interested in performance and symbolism than in the meaning of its characters' words or their substitutive gestures.
  21. The Breadwinner
    Cross-dressing in the story is merely a tool for survival, but such border-crossing is inevitably rife with unintended consequences beyond narrative ones.
    • 77 Metascore
    • 38 Critic Score
    Tatami
    The film limply gestures at ideas around women’s rights and athlete boycotts.
  23. The Wife
    Glenn Close's perennial look of astonishment and resilience commands the action to the point of turning every other screen element into a gratuitous prop.
  24. Lady Macbeth
    It isn't until its final moments that Lady Macbeth turns into the kind of meaningless, mean-spirited, and proudly irredeemable non-character study that likens it to, say, last year's emptily foreboding Childhood of a Leader.
  25. I Carry You with Me
    Heidi Ewing’s tale of immigration and deportation afflicting the lives of a Mexican gay couple flashes its reason for being at every turn.
  26. A Monster Calls
    A Monster Calls is both governed and straitjacketed by director J.A. Bayona’s competent impersonality.
  27. Buck
    Life lessons abound in Buck, most of them tied to endlessly reiterated comparisons between man and horse.
  28. The Stroll
    The Stroll is overtly broad, detached, and full of ready-made empowerment rhetoric.
  29. Flora and Son
    Flora and Son is far more invested in making its characters likable and cute rather than risking audience sympathies.
  30. The Revenant
    What pushes the film, at long last, into the icy river, is its very design, as a monument to slick, mercenary grandeur.
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