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. Anaconda
    Regrettably, the one star of Anaconda that gets the shortest shrift is the most important one: the snake.
  2. The SpongeBob Movie: Search for Squarepants
    If the film’s breathless pacing and rapid-fire jokes run out of steam just a tad as SpongeBob’s stay in the underworld extends, Search for SquarePants is still charming, spirited, and ludicrous enough to prove that it’s not quite time to tell this series to walk the plank.
    • 65 Metascore
    • 38 Critic Score
    The Housemaid
    The Housemaid’s twist is a doozy, but it falls just short of being a deconstruction of tradwife values.
  4. 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.
  5. The Plague
    The Plague is vividly, terrifying attuned to the way children create a social order that resists sensible adult intrusion and influence.
  6. 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.
  7. 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.
  8. 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.
  9. I Only Rest in the Storm
    Whatever the post-colonial lessons are, I Only Rest in the Storm’s characters articulate them too evidently, as if preemptively justifying the making of a film in or about “Africa” on the condition that the white man’s presence is relentlessly denounced.
  10. A Private Life
    The film’s brisk pace does partly compensate for the essential banality of the central investigation.
    • 78 Metascore
    • 75 Critic Score
    Dry Leaf
    Alexandre Koberidze reminds us that not seeing is sometimes a way of seeing the world differently.
  12. Dust Bunny
    The film’s writing is the sort that begs you to find it cute and quirky, which makes it quite grating if you don’t.
  13. Scarlet
    On paper, anime master Hosoda Mamoru’s Scarlet sounds positively electrifying.
  14. The Chronology of Water
    The beauty of Kristen Stewart’s focus is how she excavates the profound from the mundane.
  15. 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.
  16. Little Trouble Girls
    The film fascinatingly shows how Catholic moral strictures and an underlying paganism where desire is holy are two sides of the same coin.
  17. 100 Nights of Hero
    The film’s brand of feminism is as skin-deep as the narrative.
  18. Marty Supreme
    Marty Supreme rapturously reprises a siren song that transcends any single American era, beckoning hustlers to heed its call.
  19. 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.
  20. Zootopia 2
    Zootopia 2 provides plenty of food for thought for its young audience, making a more expansive statement on the dangers of intolerance than the first film, and without sacrificing any of its charm, humor, or visual ingenuity along the way.
  21. 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.
  22. Wicked: For Good
    The film is stretched out, breathless, and never really emotionally affecting, even on the level of nostalgia.
    • 85 Metascore
    • 75 Critic Score
    Cactus Pears
    The film is at its best when it fashions itself as a kind of ouroboros where the future and the past, death and new love, circle back on one another.
    • 54 Metascore
    • 25 Critic Score
    Keeper
    Osgood Perkins mistakes abstruseness for surrealism, and an oppressive atmosphere for palpable tension.
  25. Left-Handed Girl
    In a young girl’s face is all of Left-Handed Girl, as Nina Ye, like Shih-Ching Tsou behind the camera, translates the immensity of this sprawling saga into immediate, intimate detail.
  26. The Carpenter's Son
    The Carpenter’s Son fails to even offer decent frights, unless one finds the preponderance of CGI snakes particularly scary.
  27. Arco
    Arco is a children’s adventure set in world that’s literally on fire, which makes the moments of childlike wonder and connection all the more endearing and vital.
  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. Now You See Me: Now You Don't
    The third film in the series reliably delivers on the promise of both flamboyant showmanship and a steadfast refusal to adhere to more than just the rules of physics.
  30. Predator: Badlands
    The action is horrifying, inventive, and heart-pounding, but it’s also the least surprising part of Predator: Badlands.
  31. Christy
    Christy lulls us into complacency by deviating little from the standard inspirational sports-movie playbook.
  32. Hedda
    Tessa Thompson's presence is captivating, as she relishes in exploring her character's gleeful and occasionally anxious villainy.
  33. Nuremberg
    Just as Stanley Kramer’s Judgement at Nuremberg explored the Nuremberg trials against the backdrop of the emerging Cold War, James Vanderbilt’s film holds the trials up as a mirror to our current era of authoritarianism.
  34. The Currents
    While The Currents can certainly be read as a portrait of a woman coming apart at the seams, it also offers a more expansive view of mental illness as a sensitivity not wholly pathological, but rather capable of reframing and refreshing the world.
  35. 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.
  36. Anniversary
    This is an overtly political film that’s hesitant to express its own political views.
  37. The White House Effect
    The film meticulously yet concisely probes how, why, and when our understanding of the greenhouse effect went from a scientific certainty to it being up for debate.
  38. Little Amélie or the Character of Rain
    Little Amélie or the Character of Rain changes up its breezy account of a toddler’s growth with the occasional moment of slowed-down rumination.
  39. 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.
  40. Regretting You
    The decision to have Allison Williams and Dave Franco, both in their late 30s when the film was shot, play their characters as teens may be the most egregious example of Regretting You’s indifference to verisimilitude.
  41. Mistress Dispeller
    The film is sensitively attuned to how people’s feelings are shaped by cultural norms.
  42. Die My Love
    To dismantle the mythologies of maternity, Lynne Ramsay's tool of choice is the sledgehammer rather than the scalpel.
  43. 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.
  44. The Choral
    This is a historical drama with a handsome enough period setting and a couple of pleasant musical moments but whose roteness keeps it from resonating.
  45. Train Dreams
    The film’s mythologizing is refreshingly measured, and it offers an appealingly earnest take on the American story.
    • 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.
  47. La Grazia
    The relative restraint of La Grazia makes its baroque flourishes stand out all the more.
  48. Father Mother Sister Brother
    More than any other Jim Jarmusch film, Father Mother Sister Brother is haunted by mortality and the inevitable passage of time.
  49. Is This Thing On?
    This is a finely observed and good-natured piece of work that carries some of the creative angst of Bradley Cooper’s other films but without the need to convince us of its main character’s genius.
  50. Alpha
    The possibility of relating to the characters is constantly hindered by the struggle to make sense of the story’s messily sketched dystopia.
  51. Wake Up Dead Man: A Knives Out Mystery
    The film pokes fun at the conventions of detective stories but never becomes so self-aware that you stop taking it seriously.
  52. My Undesirable Friends: Part I - Last Air in Moscow
    The drama is all surface, in other words. And what a surface, for sure. A literal life and death struggle that’s exceedingly of this moment. Yet the best documentaries tend to have formidable underlying narratives working in concert with their overlying ones.
  53. TRON: Ares
    For a story that seeks to champion the unpredictability and finite quality of life, Ares ultimately feels trapped by the inertia of working within the parameters set by its no less flimsy predecessors.
    • 78 Metascore
    • 75 Critic Score
    Miroirs No. 3
    Christian Petzold has crafted yet another sneakily trenchant commentary on How We Live Now.
  55. Urchin
    Harris Dickinson imbues the film with a singular style, as well as a self-awareness that’s introspective without stooping to outright self-flagellation.
  56. 100 Meters
    To get to the primal thrill of racing, Iwaisawa Kenji uses just about every technique at his disposal.
  57. Two Prosecutors
    The film is a satiric look at Stalinism and bureaucracy with shades of Kafka, Orwell, and Gogol.
  58. Resurrection
    At times, Resurrection seems to outright taunt viewers for trying to make sense of it all.
  59. The Love That Remains
    Hlynur Pálmason, who has a background in visual art, explores the film’s family dynamics through a vignette-like structure that sometimes feels akin to walking through an art exhibition.
  60. V/H/S/Halloween
    Every segment passes the basic scary-movie smell test of showing you something that you haven’t seen before, and that includes a truly depraved death involving a large quantity of gumballs.
  61. Play Dirty
    Shane Black’s film plays like a misguided action extravaganza from the 1980s.
  62. The Fence
    The late Bernard-Marie Koltès’s 1979 play isn’t opened up so much as clinically dissected by the film, with every character an enfeebled pawn in situations they’re at a loss to resolve.
  63. 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.
  64. Sisu: Road to Revenge
    Much of Road to Revenge plays like a spectacularly gory silent film, with Aatami taking out scores of Red Army soldiers in action scenes that are as inventive as they are incredibly funny.
  65. Bugonia
    The film unearths new depths of existential anxiety engendered by the increasingly tumultuous 2020s.
    • tbd Metascore
    • 63 Critic Score
    Gavagai
    The film is a complex treatise on hierarchies of race, gender, and power in the contemporary art world.
  67. Trains
    The film's chronological rigor imparts an "on-rails" historical linearity, a sensation of inexorable progress and doom.
  68. Nouvelle Vague
    There’s an apparent contradiction between the radical spontaneity that Godard chases throughout the making of Breathless and the more conventional narrative approach of Linklater’s film, though spontaneity was perhaps always incompatible with the nature of this project.
  69. 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.
  70. Bone Lake
    The horror here proves as much a dead end as the main characters’ relationship.
  71. A House of Dynamite
    Kathryn Bigelow’s nerve-shredding A House of Dynamite stares down impossible questions about an unthinkable scenario.
    • 53 Metascore
    • 50 Critic Score
    Anemone
    Anemone is unable to tell a family story that lives up to its visual splendor and enigmatic atmosphere.
  73. Romería
    Carla Simón’s instinct for sketching in crucial narrative and character detail within a naturalistic context remains as unerring as ever.
  74. The Strangers: Chapter 2
    Mostly notable for its distracting resemblance to Rick Rosenthal’s Halloween II, Chapter 2 suggests for a while a needlessly extended epilogue to the first film.
    • 80 Metascore
    • 63 Critic Score
    The Mastermind
    The Mastermind marks a new chapter in Kelly Reichardt’s ongoing tapestry of American life through the eyes of its eccentric outsiders, specifically capping off a trilogy about the intersection of art and commerce at differing stages of American capitalism.
  76. Black Phone 2
    Throughout, Scott Derrickson collapses dreams, reality, past, and present sidelong into a singular cinematic haunted space.
  77. 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.
    • 67 Metascore
    • 63 Critic Score
    Dead Man's Wire
    If Dead Man’s Wire adds up to less than the sum of its vicarious jolts and sardonic jabs, it’s perhaps a result of Gus Van Sant’s style fading into the background.
    • 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.
  80. No Other Choice
    Across the film, “no other choice” becomes a kind of disingenuous mantra, demonstrating how platitudes and apathy reinforce a violent status quo.
  81. Him
    The film leaves you wishing that the aspirational way the sport is presented in real life had been read for filth.
  82. What Does That Nature Say to You
    Hong Sang-soo’s aesthetic is key to the resonance of his latest examination of an artist’s life.
  83. Rose of Nevada
    The film plunges us into a world that feels simultaneously naturalistic and otherworldly.
    • 43 Metascore
    • 38 Critic Score
    A Big Bold Beautiful Journey
    The film cloyingly asks us to embrace the sincerity of its impersonal romance.
  85. One Battle After Another
    Paul Thomas Anderson’s dark comedy One Battle After Another turns overreaching into an art form.
  86. Ne Zha 2
    Jiaozi’s film is a sprawling, hyperkinetic exercise in mythological storytelling.
    • 74 Metascore
    • 75 Critic Score
    My Sunshine
    Okuyama Hiroshi spins poetry from seemingly inconsequential moments.
  88. The Wizard of the Kremlin
    Olivier Assayas’s knack for fostering insight through irony is nowhere to be found in the film.
  89. Swiped
    Swiped’s story sits right at the center of so many vital issues, and a smarter, braver rendition of it—that is, one interested in actually probing beneath the surface of things—might have yielded a film truly worthy of comparison to The Social Network. Instead, we get a piece of corporate hagiography that sweeps all those issues aside to celebrate another tech billionaire.
  90. Sound of Falling
    The past comes off in Mascha Schilinski’s film as an onerous, if unseen, weight on the present.
  91. 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.
    • 80 Metascore
    • 63 Critic Score
    The Testament of Ann Lee
    Mona Fastvold’s protean fable is tremulous, tricky, and intrepid, much like its pious protagonist.
  93. Eleanor the Great
    Scarlett Johansson’s direction keeps things simple and intimate in a way that Tory Kamen’s overambitious screenplay doesn’t.
  94. The History of Sound
    The film movingly conjures the feeling of music’s creation of a suspended present tense.
  95. Spinal Tap II: The End Continues
    The careful balance of “stupid and clever” that solidified the legend of the first film is less steady in its much-belated sequel.
  96. 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.
    • 64 Metascore
    • 25 Critic Score
    Rental Family
    The few glimpses we get of the supporting cast suggest a more exploratory film, but these strands only exist to be woven back into Philip’s formulaic journey of self-discovery.
    • tbd Metascore
    • 75 Critic Score
    Where to Land
    Where to Land opts for quiet moments of connection, raising questions rather than giving definitive answers.
  99. Frankenstein
    Guillermo del Toro reassembles a multitude of fragments, both lifted from the text and drawn from his own life, into a bloody and beautiful organ of empathy that will assuredly live on.
  100. The Ugly
    The film plays a long game with audiences that frustrates far more than it illuminates.
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