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. Cyrano
    As is typically the case with Joe Wright's films, one is left both exhilarated and exhausted, wishing that he had been more interested in the material at the center of his house of flourishes.
  2. Spider-Man: No Way Home
    There’s no attempt to hide that the film is pure fan service, a greatest-hits mashup of Spider-Man’s cinematic legacy.
  3. The Novice
    At its best, the film suggests some kind of hellish Nike commercial, where “just do it” becomes less an inspirational motto than a grueling portent of doom.
  4. The King's Man
    The film is so caught up in its own idea of national exceptionalism that its tagline might as well be Make England Great Again.
  5. The Tender Bar
    The film insists so forcefully that J.R. has lived a topsy-turvy, singular life that it abandons a potentially more rewarding approach of foregrounding how relatable many of his moments of self-discovery really are.
  6. Last and First Men
    The push and pull between gradual buildup and apocalyptic rupture allows the film to infiltrate the mind and recalibrate our sensitivity to time.
  7. National Champions
    As a peek into the relationship between sports, media and capitalism, National Champions feels like a beginner’s playbook.
  8. Don't Look Up
    Like Vice before it, the film too often uses satire as a tool of castigation rather than as a means of truly attacking the status quo.
  9. Being the Ricardos
    Like all Aaron Sorkin-penned characters, this film’s version of Lucille Ball is a mouthpiece for his brand of smarmy, know-it-all sarcasm.
  10. Nightmare Alley
    Guillermo del Toro's remake of Nightmare Alley is less a living and breathing movie than a fossilized riff on the idea of a movie, particularly the American noir.
  11. The Lost Daughter
    For a while, Olivia Colman’s expressive performance carries the film, with little narrative distraction or stylistic conspicuousness.
  12. Agnes
    The film is a thoughtful examination of the human desire for it and the accompanying hope that it may exorcise the emptiness we feel.
  13. West Side Story
    Steven Spielberg's West Side Story is at its best when it zooms in and settles down into character study.
  14. The Sleeping Negro
    Though often abstract in its imagery, the film’s blistering commentary remains firmly rooted in our present reality.
  15. Silent Night
    The film misplaces the root of our current existential dilemma, then covers it with tepid droll comedy and clunky melodrama.
  16. The Hand of God
    Throughout Paolo Sorrentino’s film, the line between miracle and cosmic prank, even tragedy, is rendered indistinguishable.
  17. The Unforgivable
    The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
  18. Resident Evil: Welcome to Raccoon City
    Johannes Roberts’s prequel ultimately remains buried by its indifference to unchecked corporate power.
  19. The Humans
    Throughout The Humans, Stephen Karam orchestrates the highs and lows of a family reunion with Chekhovian subtlety.
  20. House of Gucci
    Ridley Scott’s tale of greed and revenge practically begs for melodramatic excess.
  21. Licorice Pizza
    It’s the hints of danger, employed like ghost notes in a shuffling rhythm, that lend the film its sneaky depth of feeling.
  22. Zeros and Ones
    Zeros and Ones is the unwelcome spectacle of a bad boy attempting to apologize for his badness.
  23. The First Wave
    Matthew Heineman’s documentary successfully emphasizes how people’s emotions were whipsawed by an unprecedented crisis.
  24. The Summit of the Gods
    While the film intermittently stuns in revealing Everest’s topographical mystique, its expedition into what makes climbers tick struggles to get off the ground.
  25. Kurt Vonnegut: Unstuck in Time
    The film pulls back the veil on Kurt Vonnegut to show how a gloomy dissatisfaction brooded underneath his quippy surface personality.
  26. I Was a Simple Man
    The film’s quietly uncanny narrative wondrously depicts not only a dying man’s reflection on his life, but also the very nature of Hawaii itself.
  27. The Feast
    The Feast makes a stab at drawing out modern, very real anxieties around wealth disparity and ecological devastation without falling back on genre tropes, asking us to consider how the land itself may come to feast on the rich.
  28. Ghostbusters: Afterlife
    Though flattering through and through, the film is ironically removed from the charms of the worshipped original.
  29. Encanto
    Encanto doesn’t steer away from the inevitable happy ending one expects from most animated films geared toward children, but it subverts expectations by bringing humanity to even its most flawed characters.
  30. C'mon C'mon
    C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.
  31. Uppercase Print
    The film metatextually insists that we not be taken in by new, more sophisticated methods of obfuscation.
  32. Mayor Pete
    The film’s approach is completely subsumed by the importance of the Mayor Pete persona as the means and ends of the candidacy.
  33. King Richard
    Rarely has a film used its foreknowledge of a happy ending as a reason to remain so uncritical and incurious of its central subject.
  34. Red Notice
    A constant sense of motion can’t obscure how stale, secondhand, and spiritless this entire endeavor feels.
  35. Dangerous
    Dangerous betrays the promise of its title by playing things extremely safe.
  36. Finch
    The end of the world may never have had less impact than it does in Miguel Sapochnik’s Finch.
  37. The Beta Test
    Underneath the film’s seeming casualness is an astute portrait of alcoholism, as well as a knowing glimpse of how micro tensions affect macro power plays, from pissing contests between men to sexual violations.
  38. Hive
    A layer of ambivalence facilitates our identification with Fahrije but also makes her a distinct character and not just an archetype.
  39. Eternals
    At once bloated and rushed, Eternals suffers from frequent lurches in tempo that dispel its occasional moments of tranquil thoughtfulness.
  40. Army of Thieves
    Matthias Schweighöfer’s film puts itself in a box, consistently failing to justify why its story deserves our attention more than the spectacle of the recently deceased rising to feast upon the flesh of the living.
  41. Ron's Gone Wrong
    The film celebrates individuality even as it suggests that everyone needs their own A.I. tech to validate everything they like and think.
  42. Antlers
    In Antlers, the big bad is never supposed to be as scary as society’s collective wrongdoing.
  43. Broadcast Signal Intrusion
    Jacob Gentry’s film punches through all the layers of homage to arrive at a place of true horror.
  44. Labyrinth of Cinema
    Manic, maximalist, and bristling with postmodern bells and whistles, Labyrinth of Cinema is exactly what its title suggests.
  45. Freeland
    At their best, writer-director Mario Furloni and Kate McLean evince a masterful grasp of storytelling that’s subtle and rich in innuendo.
  46. Halloween Kills
    As far as improvements go, Michael Myers’s revitalized brutality is arguably the only successful one that Halloween Kills makes.
  47. Needle in a Timestack
    The film is too blinded by manufactured sentimentality to see the more compelling what-if scenario lying right in front of its eyes.
  48. Luzzu
    Alex Camilleri’s most significant departures from his influences take place on the level of content, but, thankfully, they strain the integrity of the neorealist framework just enough to keep Luzzu fresh, if not revolutionary.
  49. Parallel Mothers
    The film is a ghost story as well as a story of transference, which Pedro Almodóvar understands to be one in the same.
  50. The Last Duel
    Ridley Scott’s medieval saga insightfully revels in the complexities of its competing storylines.
  51. The Rescue
    Aside from being a thrilling account of a hair-raising rescue, Elizabeth Chai Vasarhelyi and Jimmy Chin’s documentary attests to living a calling.
  52. Evangelion: 2.0 You Can (Not) Advance
    Evangelion 2.0 evolves the original show’s central conceit of being alone together with other people in leaps and bounds. The problem with that is: Neon Genesis Evangelion was never a leaps-and-bounds kind of show.
  53. Lamb
    Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
  54. Hit the Road
    For too much of its running time, Panah Panahi’s film is untethered from any kind of captivating narrative purpose.
  55. Mass
    In the hands of its cast, Mass gives such precise and profound expression to the totality of grief that it comes to feel downright palpable.
  56. There's Someone Inside Your House
    The film feels like a missed opportunity to interrogate society’s fervent need to make pariahs out of people for their past mistakes.
  57. Venom: Let There Be Carnage
    The title isn’t only a promise of so much destruction to come, but also inadvertently an assurance that its most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
  58. No Time to Die
    This Bond’s overall arc from modishly merciless killing machine to aging assassin with the familial feels comes off as a treacly sop to psychological complexity.
  59. Mayday
    The film circles a thorny premise, which makes it all the more disappointing that it results in a conventional clinch.
  60. Prayers for the Stolen
    There’s a haunting beauty to Tatiana Huezo’s depiction of the gradual cross-contamination of childhood innocence and criminal aggression.
  61. The Tragedy of Macbeth
    What’s absent here is the murderous lust for power that dovetails with Macbeth and Lady Macbeth’s lust for each other, and which proves their mutual undoing.
  62. A Chiara
    The film’s initial aimlessness is pleasurable for the way that it allows the viewer to stare at life being processed on the stunned, confused, and ecstatic face of a teenager.
  63. Birds of Paradise
    Birds of Paradise lacks the nuance and finesse needed for its story to really take flight.
  64. Cry Macho
    The film achieves the nourishing simplicity of a fable, and its devotion to the quotidian elements of mythical small-town western life is nearly religious.
  65. The Power of the Dog
    The film looks at times like a stiff-jawed period piece, but it ripples underneath with a prickly modern sensibility.
  66. The Many Saints of Newark
    The juxtapositions between backroom politicking, intimate family drama, and the occasional lurches into action often give the impression of a TV season’s worth of content crammed into two hours.
  67. Flee
    The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.
  68. Dear Evan Hansen
    The film works harder to fix the problems with its source material than to establish itself as an independent piece of art.
  69. Encounter
    In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul.
  70. Surge
    More than effective in visualizing its protagonist’s disorientated state of mind, the camerawork may leave viewers feeling like they just stepped off of a merry-go-round.
  71. The First 54 Years: An Abbreviated Manual for Military Occupation
    The film persuasively sheds light on the grievances of the Palestinian people that have long fallen on deaf ears.
  72. What Do We See When We Look at the Sky?
    The film is an offbeat epic informed by a reverence for the past and a delicate wariness toward the future.
  73. Procession
    Robert Greene’s gaze is an attempt to accord his subjects the dignity of attention, utilizing cinema as a form of emotional due process.
  74. One Second
    One Second is as much a tribute to the struggles of a man whose life has stolen from him as it is to a bygone way of looking at movies.
  75. Il Buco
    The film meticulously evokes a 1961 speleological expedition, but its search for thematic resonance is frustratingly general.
  76. The Forgiven
    Whatever satire of white elite society is intended by The Forgiven has been blunted by monotony.
  77. The Eyes of Tammy Faye
    The Eyes of Tammy Faye mostly plays out as a showcase for Jessica Chastain to bring as much emotional sturm und drang to the woman as she lurches between various states of turmoil.
  78. The Electrical Life of Louis Wain
    The film charts Louis Wain’s slow, long mental breakdown in ways that tackily oscillate between the pitying and the whimsical.
  79. Futura
    Pietro Marcello, Francesco Munzi, and Alice Rohrwacher’s documentary rather faithfully captures the spirit of our times.
  80. Benediction
    Terence Davies’s film is a rhapsodic portrayal of an upper-crust milieu in which words are wielded like weapons by people who might otherwise be pariahs.
  81. Belfast
    Kenneth Branagh's film understands the malleability of memory, and it embodies cinema’s ability to offer a kind of escapism, but up until its climax it plays like a retreat from reality.
  82. Copshop
    With its pulpy thrills, hyperbolic dialogue, charismatic scumbags, and a score heavy in electronic effects and percussion, the film effortlessly coasts on a gnarly old-school vibe.
  83. The Guilty
    This is an engaging, no-frills entertainment that still fails to justify its reason for being.
  84. The Nowhere Inn
    The film is elevated by funny, cleverly staged sequences, but it too often hammers the notion that fame destroys authenticity.
  85. The Mad Women's Ball
    The film capsizes in the absence of a compelling center for Mélanie Laurent to hang her directorial panache.
  86. Dune: Part One
    Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
  87. Last Night in Soho
    In the end, Edgar Wright isn’t particularly interested in taking aim at all that is dark in the zealotry that shapes a culture.
  88. Unclenching the Fists
    Unclenching the Fists is a tale of how the desolation of a nation inhabits and engraves a woman’s body.
  89. France
    France indecisively utilizes a news personality’s crocodile tears as a symbol of the bad faith that pervades news discourse.
  90. Dug Dug
    The film is marked by an empathetic understanding of the inkling of belief that can be exhumed from even the most rational of minds.
  91. Wife of a Spy
    Wife of a Spy could use a streak of live-wire, huckster crudeness, a bit of melodrama delivered in an unselfconscious manner.
  92. Ali & Ava
    Ali & Ava once again showcases Clio Barnard’s uncanny ability to capture the insoluble complexities of life.
  93. Spencer
    Pablo Larraín’s film readily conjures a paranoia-suffused atmosphere of fear for what might happen at any moment.
  94. Neptune Frost
    The film thrillingly captures the social, economic, political, and material character of Rwanda in the age of global communication.
  95. The Duke
    The film misses an opportunity to delve particularly deeply into the keenly relevant issues of inequality and social disconnection that so animate its protagonist.
  96. Intregalde
    Întregalde is a sharply drawn and subtle fable about the meaning of charity and the limits of altruism.
  97. The Voyeurs
    It’s hard to deny that Michael Mohan’s preposterous fable doesn’t exert the dark pull of voyeurism itself.
  98. Queenpins
    The film’s largely painful humor is informed by the mistaken belief that the main characters’ criminal enterprise is inherently quirky.
  99. Kate
    Kate will leave you wishing that its narrative possessed the same attention to detail as its elaborately violent action set pieces.
  100. The Card Counter
    Paul Schrader’s film grows more heated and crazed as the chaos of the past bleeds into a repressed present.
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