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. In the Grey
    At some point before the truncated-seeming finale, the film is just chasing its own tail.
  2. Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D)
    The film doesn’t totally succeed in capturing the show’s scope or thematic through line.
  3. Over Your Dead Body
    Once it turns into a home-invasion thriller, the film becomes more sadistic than hilarious.
  4. Power Ballad
    Like the fraught relationship between its two musician characters, the film never finds the right groove.
  5. Faces of Death
    For a film that’s so well versed not only in the genre but in its tendencies to recreate and recycle itself, it’s disappointing to see Faces of Death do so in such slavish fashion.
    • 50 Metascore
    • 50 Critic Score
    They Will Kill You
    This is a film that’s content to imitate its influences rather than build an identity of its own.
  7. Late Shift
    For all its empathy, Late Shift upholds the dubious virtue of self-sacrifice that underpins the Protestant work ethic.
  8. Hoppers
    It falls well short of providing any satisfying exploration of its weighty theme of persuasion versus violence in the face of oppression.
  9. Dolly
    One senses that Rod Blackhurst knows that Dolly is undernourished, but his attempts to jazz it up by splitting it into transparently titled chapters only calls further attention to that dearth of imagination.
  10. Crime 101
    Like Mike’s modus operandi as a criminal, the film goes through all the pro forma motions.
  11. Wuthering Heights
    Like a particularly impressive aspic, Wuthering Heights is tantalizing to behold but not so easy to swallow.
  12. I Want Your Sex
    The film gets too caught up in concern trolling about the sexual timidity of today’s youth.
  13. The Moment
    Farce and sincerity make more odd bedfellows across Aidan Zamiri’s meta mockumentary about Brat Summer.
  14. 28 Years Later: The Bone Temple
    The Bone Temple doesn’t pack the moment-to-moment kineticism of the prior films.
  15. Greenland 2: Migration
    Greenland 2 plays out as a much more generic thriller than its predecessor.
  16. Primate
    If only the filmmakers had put the same care and thought into their human characters, then Primate might have been worth going apeshit over.
  17. We Bury the Dead
    There’s a thoughtful zombie tale with its own distinctive personality lurking somewhere within We Bury the Dead, but it’s overridden by the film’s more generic elements, and that identity ultimately gets lost among the horde.
  18. Anaconda
    Regrettably, the one star of Anaconda that gets the shortest shrift is the most important one: the snake.
  19. Avatar: Fire and Ash
    The crystal clarity of Russell Carpenter’s cinematography is often unnerving, as is the uncanny nature of Pandora’s computer-generated flora and fauna, which never truly seem alive and vital.
  20. Song Sung Blue
    Song Sung Blue is content to pendulum-swing from triumph to tragedy and back again with all the self-control of a drunk driver.
  21. The Voice of Hind Rajab
    Watching actors interact with an authentic recording of a child on the brink of death is less an invitation to audiences to wrestle with the horrors of war and more with the ethics of the film’s creative choices.
  22. Ella McCay
    The optimism that Ella preserves as she takes life one day at a time is compelling enough that it’s hard to get too mad about how shallow the world around her can seem.
  23. Scarlet
    On paper, anime master Hosoda Mamoru’s Scarlet sounds positively electrifying.
  24. WTO/99
    WTO/99 sets out to correct misrepresentation by corporate media about the aims of the movement, but that attempt is hampered by the recycling of much of the same news footage from news broadcasts.
  25. 100 Nights of Hero
    The film’s brand of feminism is as skin-deep as the narrative.
  26. Eternity
    The film is very old-fashioned in its thinking and approach to fantastical romance, despite some occasional, vague allusions to the fact that it is, still, a 2025 film.
  27. A Magnificent Life
    Sylvain Chomet provides only a scant sense of Marcel Pagnol’s creative inklings, such as the ideas and themes that fuel the films that he fights so vehemently to make.
  28. The Running Man
    In flinching at the end, The Running Man ultimately becomes akin to the very thing it criticizes: a hollow, mollifying image of empowerment that distracts from the logical conclusions of its nihilistic premise.
  29. Christy
    Christy lulls us into complacency by deviating little from the standard inspirational sports-movie playbook.
  30. Ballad of a Small Player
    The film’s ambivalent perspective on the greed and glitz of its protagonist’s world makes it difficult to invest much care in what happens to him.
  31. Hamnet
    Though Hamnet is concerned with bottomless grief and the unique power of art to express the inexpressible, it can’t help but telegraph its themes loudly and incessantly, its emotional register off-puttingly monotonous.
  32. Shelby Oaks
    Chris Stuckmann’s utilitarian approach is doubly frustrating considering that Shelby Oaks does, at least in the early going, point toward potentially having something to say about the vlogger space, internet infamy, and the way tragedy takes on a cultural virality.
    • 62 Metascore
    • 50 Critic Score
    Köln 75
    Unfortunately, for a film mainly about an assertive young woman making her way in a culture ruled by men, Köln 75 becomes far more compelling after Jarrett finally makes his entrance.
  34. Alpha
    The possibility of relating to the characters is constantly hindered by the struggle to make sense of the story’s messily sketched dystopia.
  35. Springsteen: Deliver Me from Nowhere
    There are plenty of real-life anecdotes that Scott Cooper draws from Warren Zane’s 2023 book Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska, but they’re filtered through the hoariest of biopic clichés.
  36. Good Boy
    A horror tale told from the perspective of a dog, Ben Leonberg’s Good Boy is the sort of film that was always destined to live and die by the strength of its central gimmick.
    • 53 Metascore
    • 50 Critic Score
    Anemone
    Anemone is unable to tell a family story that lives up to its visual splendor and enigmatic atmosphere.
  38. After the Hunt
    While its desire to question absolutes is admirable, there’s a hollowness at the film’s core that prevents it from having a more pointed impact beyond surface provocation.
    • 70 Metascore
    • 50 Critic Score
    The Last One for the Road
    The Last One for the Road gives itself over to an aimlessness that doesn’t so much reflect the characters’ lives as it does the script’s lack of commitment to interiority.
  40. Him
    The film leaves you wishing that the aspirational way the sport is presented in real life had been read for filth.
  41. One Battle After Another
    Paul Thomas Anderson’s dark comedy One Battle After Another turns overreaching into an art form.
  42. The Smashing Machine
    Despite the retro vérité aesthetic that Benny Safdie employs to give Mark Kerr’s story a stylish new coat of paint, all that his version ultimately does is whip up a feeling of déjà vu.
  43. Roofman
    The real Jeffrey Manchester may in fact have been polite, but Derek Cianfrance’s film doesn’t convince you that it needed to be as well.
  44. The Ugly
    The film plays a long game with audiences that frustrates far more than it illuminates.
  45. The Lost Bus
    Paul Greengrass employs a peripatetic restlessness to the material, and while that brings an often thrilling sense of verisimilitude to the film, the cliché-stuffed screenplay too often plays against the intended solemnity of the project.
  46. Late Fame
    Its desire to resist easy storytelling paradigms around artists is admirable, but without punching up or down, the film feels like it’s pulling punches altogether.
  47. The Roses
    The War of the Roses, both the book and the Danny DeVito film, is an infamously brutal comedy of terrors, and The Roses is cuddly by comparison.
  48. The Toxic Avenger
    Pulled awkwardly in so many directions, this Toxic Avenger all but comes apart at the seams.
  49. Eden
    As the plot progresses, the film appears increasingly adrift, discordantly sliding between farce, satire, and murder mystery.
  50. Dracula
    As Dracula wears on, its lack of focus starts to grate, while Radu Jude’s deployment of profane, disreputable dialogue and imagery starts to resemble a stylistic tic more than a genuine affront to his audience’s sensibilities.
  51. Honey Don't!
    The film is paced in such a languid, dreamy way that it’s hard to get a grasp on how each scene connects to the larger themes or the larger mystery until fairly late.
  52. Nobody 2
    Behind the violence and gore, Nobody 2 only offers the skeleton of a narrative.
    • 74 Metascore
    • 50 Critic Score
    Highest 2 Lowest
    The more the film diverges from Kurosawa’s, the more confident and distinguished it becomes.
  54. Witchboard
    Some of the period action set pieces are spirited in their staging, while the film doesn’t lack for gruesome and elaborate kill sequences, which is almost enough to distract from the screenplay’s patchiness and insipid characterizations.
  55. Fixed
    The balls-out shock value doesn’t detract from the fact that Fixed is more square than its makers probably think it is.
  56. She Rides Shotgun
    Nick Rowland’s film doesn’t seem to have faith in the story the novel tells.
  57. Shoshana
    It’s possible that a kind of objective moral ambiguity was the goal here, but given the sensitive nature of the material, it’s difficult to shake the feeling that the film’s vagueness is the calculated strategy of those unwilling to take a side.
  58. Oh, Hi!
    After its opening act, the film gets silly fast, with a frankly stupid witchcraft subplot and narrative turns that are telegraphed with audience-insulting obviousness.
  59. Little, Big, and Far
    The film adopts a diaristic, epistolary form that flattens its emotional topography.
    • 49 Metascore
    • 50 Critic Score
    Daniela Forever
    Metaphysical implications about the nature of reality or the possibility of shared consciousness are left mostly unspoken, as the film spends more time developing a surface-level study of the desire for romantic possession and control.
  61. How to Train Your Dragon
    As heartwarming as this story remains at its core, it’s hard to shake that you already know how it will play out.
  62. Materialists
    As its second half begins to focus more on Lucy’s dating dilemma, and how she’s forced to confront her firmly established beliefs and rules about dating, the film hews increasingly close to the narrative expectations of the traditional rom-com.
  63. Ballerina
    Sans a mythology of its own, or any substantive ties into where the John Wick films go chronologically after this, Ballerina is just another 87Eleven joint.
    • 57 Metascore
    • 50 Critic Score
    Tornado
    Tornado’s winking theatricality, thematic fixations with myth and avarice, and pared-down plotting add up to a heady concoction, but it’s more conducive to reflection than engagement.
  65. Fight or Flight
    Dramatic moments create tonal stutters that prevent the film from becoming the unhinged Looney Tune that it wants to be.
  66. Havoc
    If the rest of it had been as driven by such a ferocious sense of purpose as its final act, Havoc would be one of the finest action movies of the decade so far.
  67. On Swift Horses
    It’s difficult to shake that there’s something tragic blaring from the sidelines that the film’s wistful, pitch-perfect Hollywood ending can’t acknowledge.
  68. The Accountant 2
    As The Accountant 2 drags out to over two hours, and its two storylines remain tonally at war with one another, it becomes increasingly clear that, two films in, this series still hasn’t figured out exactly what it wants to be.
  69. Eric Larue
    While the film features a strong performance from Judy Greer, it’s essentially a patchwork of broad strokes that rarely feel like they’re bringing its world to credible life.
  70. The Friend
    Hardly a false note is sounded throughout The Friend, but it operates within such a limited emotional range that it drifts into monotonic plainsong.
  71. Snow White
    This is a fairly paint-by-numbers exercise in updating a quintessential but unquestionably quaint property for modern consumption.
  72. Black Bag
    By the time the film comes to the end of its brisk runtime, it feels like nothing much has actually happened, despite all the narrative convolutions.
  73. The Empire
    Notable as it is for evoking a kind of cosmic banality, writer-director Bruno Dumont’s anti-space opera The Empire runs into same the pitfall as many parodies of its kind.
  74. The Rule of Jenny Pen
    The film single-mindedly sees its elderly characters as objects of disgust or receptacles for harm.
  75. The Gorge
    For a solid hour or so, the film is patient and tense, with just the right touches of levity and romance. Until, suddenly, it isn’t.
  76. Captain America: Brave New World
    As the film explodes into numerous subplots that rapidly move far apart from one another, it necessitates constant leaps between characters and locations that only further disrupt the narrative flow of the proceedings.
  77. Rounding
    A few scenes show glimmers of promise for what Alex Thompson can achieve when he’s more in his wheelhouse. It’s a shame that the horror and tension that make up the bulk of Rounding are so clearly outside of it.
    • 52 Metascore
    • 50 Critic Score
    Parthenope
    The film’s succession of symbolically loaded vignettes is less meaningful than intended.
  79. Armand
    By the time we’re watching whole conversations be drowned out by noise of pounding rain, the abstract tendencies of Armand begin to feel like an act of unintentional self-sabotage
  80. Kiss of the Spider Woman
    For a musical so dedicated to celebrating and critiquing the transformative potential of cinematic fantasy, Bill Condon’s Kiss of the Spider Woman brings relatively little of the kind of overwhelming star power that can truly transport audiences.
  81. Grafted
    Grafted’s biggest problem is that it loses all momentum once the face-swapping kicks into motion, meandering along with no real sense of rising danger or ensuing consequence as the baton is passed from one victim to the next.
  82. Night Call
    Michiel Blanchart’s film often feels like a patchwork of half-developed ideas, each more loosely and tenuously woven into the whole than the last.
    • 60 Metascore
    • 50 Critic Score
    Den of Thieves 2: Pantera
    Pantera feels far more anonymous, sleeker and less outlandish, than its predecessor.
  84. The Damned
    Had we been allowed to truly sit with the characters’ prejudices, then The Damned might have earned the desperation with which it strains for contemporary resonance.
  85. The Return
    The Return may render its mythological figures lifelike through flesh and blood, but nowhere inside that viscera lies a beating heart.
  86. Moana 2
    For a story that so prizes how far its heroine will go, Moana spends so much of this sequel stuck in a rut.
  87. Red One
    It’s neither naughty or nice, and in Santa’s book, that likely means it just ends up getting nothing this Christmas.
  88. Gladiator II
    Like so many latter-day Ridley Scott films, Gladiator II at once feels half-baked and overstuffed, and the lack of internal consistency robs its action of sustained tension and its comedy of bite.
  89. Bird
    As evocative as it is, the film’s use of small-town squalor as a blank canvas for artful indulgences often detracts from its purported authenticity.
  90. Blitz
    Blitz is an earnest, broad-strokes portrait of a bustling city that occasionally succeeds in communicating the unprecedented sensory shock of modern warfare, but its uncritical craftsmanship and quarantining of past atrocities from present-day concerns also render the proceedings mostly lifeless.
  91. We Live in Time
    John Crowley’s film blunts the force of the naturalistic performances by Florence Pugh and Andrew Garfield as it shifts around the timeline of the story with little rhyme, reason, or rhythm.
    • 85 Metascore
    • 50 Critic Score
    I'm Still Here
    The film has trouble excavating any coarse humanism from this decidedly human story, opting instead to paint the family at its center in broad, uninspired strokes.
  93. Queer
    In the end, Luca Guadagnino effectively turns a very complicated literary figure into the kind of blubbering, nostalgic old man you’d expect to see in a student film or a Sundance prizewinner.
  94. Plastic
    Even a banal life can have a musicality and life to it, but once it leaves high school, Plastic’s portrait of adult life comes off as a monotone drone.
  95. Maria
    Between Jackie, Spencer, and, now, Maria, Pablo Larraín has thrice committed the cardinal sin of taking a female icon of the 20th century and, in an attempt to hold a mirror up to her multitudes, flattened her into the equivalent of a kitschy postage stamp.
  96. Happyend
    Sora Neo struggles to balance the immediacy of adolescent angst with the long-range outlook of using the students’ experience as a canary in the coal mine for society at large.
  97. Omni Loop
    The film retreads ideas familiar from time-loop stories without offering anything especially new.
  98. Meanwhile on Earth
    The overbearing plot of the film sadly obscures the humanity of its characters.
  99. Nightbitch
    It’s disappointing to see a film with such a weird premise as Nightbitch ease into an orthodox storytelling mode.
  100. Presence
    The unoriginality of Presence’s story eventually calls out the POV conceit as a one-note gimmick, especially when the tension is dialed up in the film’s second half.
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