Slant Magazine's Scores

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For 7,772 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. 12 Years a Slave
    Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
  2. Snow White and the Seven Dwarfs
    If it’s possible for a parable to be too simple to even qualify as a parable, the convincingly dim Snow White represents the dopey standard.
  3. One Battle After Another
    Paul Thomas Anderson’s dark comedy One Battle After Another turns overreaching into an art form.
    • 95 Metascore
    • 50 Critic Score
    Amour
    This isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years.
  5. La La Land
    Every element of La La Land is bound up in a referentiality that largely precludes the outpourings of emotion we come to musicals for.
  6. The Look of Silence
    If The Look of Silence still remains a gripping, vital, consequential documentary, it's in spite of its approach rather than because of it.
  7. Son of Saul
    The film's meticulousness orchestration only calls attention to its dubious sense of purpose, which lies beyond human subjectivity.
  8. Hit the Road
    For too much of its running time, Panah Panahi’s film is untethered from any kind of captivating narrative purpose.
    • 89 Metascore
    • 50 Critic Score
    The Seventh Continent (1989)
    By concentration exclusively on humanity’s negativism, Haneke proves to be as damagingly reductive of life’s possibilities as the emotional malaise he sets out to expose.
  10. The Seventh Seal
    The Seventh Seal, assisted by cinematographer Gunnar Fischer’s richly overexposed images, operates as though it contains the undiluted essence of life’s fueling dialectic formula. Occasionally it does, most notably in the terrifying arrival of the self-flagellants to a weak-willed village. But the road-trippers in Bergman’s follow-up, Wild Strawberries, achieve a far greater grace and clarity with only a fraction of the heavy lifting.
  11. The Little Mermaid
    The Little Mermaid is the story of one packrat pre-tween princess whose undersea kingdom is only matched in depth by her remarkable sense of consumer-minded entitlement.
  12. Newtown
    Its enervated address of both mental-health treatment and gun laws receives few constructive articulations beyond a single scene.
  13. 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.
  14. Mission: Impossible – Fallout
    As in Rogue Nation, Fallout‘s action scenes are cleanly composed and easy to follow, and so abundant as to become monotonous.
  15. Hereditary
    In writer-director Ari Aster's smugly agitating feature debut, the devil is certainly in the hackneyed details.
    • 87 Metascore
    • 50 Critic Score
    All Dirt Roads Taste of Salt
    Comparisons to the work of Terrence Malick and Julie Dash are inevitable, but Raven Jackson’s search for the sublime lacks both the rich philosophical inquiries of the former and the dense, lived-in specificity of the latter.
  17. The Shape of Water
    The Shape of Water has been made with a level of craftsmanship that should be the envy of most filmmakers, but the impudent, unruly streak that so often gives Guillermo del Toro’s films their pulse has been airbrushed away.
  18. Moneyball
    True to Hollywood's tireless efforts to fit square-peg material into roundish genre niches, this wavering, intermittently smart story of daring to think differently flattens its narrative into formula.
  19. Last Days in Vietnam
    For American viewers who don't know, the doc will be a worthy footnote to a long bout of deliberate cultural amnesia, but it's too telling that the Vietnamese remain in the background.
  20. Krisha
    It rams home the main character's relentless downward spiral though an incessant parade of grandstanding stylistic flourishes.
  21. I Saw the TV Glow
    The film is a mesmeric but frequently muddled exploration of transgender self-actualization.
  22. The Lost Daughter
    For a while, Olivia Colman’s expressive performance carries the film, with little narrative distraction or stylistic conspicuousness.
  23. Argo
    Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
    • 86 Metascore
    • 50 Critic Score
    The Master
    The Master is Paul Thomas Anderson with the edges sanded off, the best bits shorn down to nubs.
  25. 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.
  26. Cinderella
    Despite its prodigious charms, it has probably destroyed more lives than any other Disney film, forcing a specific, unrealistic romantic archetype that truly does only exist in fairy tales onto generations of impressionable children, who would grow up desperate, needy, and crushed.
    • 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.
  28. After the Storm
    The stock character types that Hirokazu Kore-eda employs across the board are pretty much open books from the start.
  29. War Witch
    Though ostensibly a character study, it's nevertheless characterized by the vaguely moralizing tone of an issue film, one whose candor in the face of brutality seems calculated for maximum liberal appeal.
  30. 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.
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