Slant Magazine's Scores

Select another publication »
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
view
per page
  1. Summer of 85
    François Ozon’s paean to nostalgia wraps tragedy and obsession in a whimsical bow.
  2. Gaia
    After a while, the film’s elaborate, often breathtaking special effects come to feel like it’s only source of complexity.
  3. Infinite
    Symptomatic of the Marvel-ization of modern action cinema, the film seems to exist mostly as an advertisement for future product.
  4. The Hitman's Wife's Bodyguard
    The Hitman’s Wife’s Bodyguard improves on its 2017 predecessor only insofar as it runs 20 minutes shorter.
  5. Awake
    It’s difficult to imagine a high-concept thriller that coalesces around its one-line conceit less convincingly than Awake.
  6. The Misfits
    The film is almost refreshing in its flightiness, even as it remains defiantly ignorant of the world in which it exists.
  7. The Amusement Park
    With The Amusement Park, George Romero holds a cracked (funhouse) mirror up to a callous and ultimately terrified society.
  8. Sublet
    Eytan Fox’s film is a low-key observance of two men finding the beauty in each other’s mysteries and contradictions.
  9. The Conjuring: The Devil Made Me Do It
    The film apes the style that James Wan established with the original Conjuring without establishing any real identity of its own.
  10. Slow Machine
    The film navigates a tricky space between pathos and absurdity and often turns on a dime from one to the other.
  11. The Ancient Woods
    The film brings us somewhere where we aren’t, and probably could not be, but nevertheless feels tangibly real.
  12. The Carnivores
    The characters don’t exist solely to affirm the film’s various themes, and as a result, their humanity gets under your skin.
  13. In the Heights
    Consistently surprising and creatively fearless, John C. Chu’s film brings monumentality to a work of infinite heart.
  14. Moby Doc
    The film’s tendency to over-explain, over-intellectualize, and over-script events leaves little room for spontaneity and doubt.
  15. Cruella
    The film’s outward liveliness can’t mask the inner inertia it has as just another lifeless product assembled in a factory.
  16. Funhouse
    Throughout, it’s difficult to sort the contrivances that writer-director Jason William Lee is parodying from those he’s indulging.
  17. Final Account
    Luke Holland’s stark and revealing documentary is a gift of memory to future generations, though it’s one that some will likely view as an unwelcome reminder of how everyday people can become complicit in incomprehensible evil.
  18. The Dry
    The particulars of the central mystery are mundane, to the point where the film itself doesn’t spend too much time digging into them.
  19. When Hitler Stole Pink Rabbit
    The reality of Nazi Germany and its looming atrocities feels as if it exists only beyond the edges of the film’s frame.
  20. Spring Blossom
    Throughout her directorial debut, Suzanne Lindon paints a concise and truthful portrait of her protagonist’s feelings of estrangement.
  21. Seance
    Simon Barrett imbues his narrative with a purplish emotionality that the Urban Legend movies didn’t even think to bother with.
  22. A Quiet Place Part II
    John Krasinski is most in his comfort zone when the importance of family and legacy drives the film’s tension.
  23. New Order
    The film utilizes a trendy issue as window dressing for a tedious and delusional exploitation film-slash-museum piece.
  24. Dream Horse
    After watching this Welsh racehorse drama, even those of us who’d struggle to pronounce the word may find ourselves feeling a bit of hwyl.
  25. Those Who Wish Me Dead
    The film half-heartedly teeters between a kinetic action thriller and something a little more low-key.
  26. The Woman in the Window
    The Woman in the Window never manages to transcend the impression that it’s merely being clever.
  27. Army of the Dead
    The film’s masterful prologue writes a check that the remainder of this very long, very indulgent film labors mightily to cash.
  28. Spiral: From the Book of Saw
    The film doesn’t reset the Saw template in any marked way. It seems primed to explore the present-day fight against police brutality, but it never lives up to that promise.
  29. Profile
    Timur Bekmambetov’s Screenlife film is more fluff piece than hard-hitting news story.
  30. The Perfect Candidate
    The film’s aesthetic, understandably fused with its protagonist’s dogged can-do attitude, is both the source and limitation of its power.
  31. All Light, Everywhere
    Theo Anthony’s film is a playful, enraging, free-associative cine-essay that both expands and eats itself alive as it proceeds.
  32. Friends and Strangers
    The film’s tonal and situational shapeshifting doesn’t go to the surrealist lengths of Luis Buñuel’s The Discreet Charm of the Bourgeoisie, but James Vaughan similarly indulges in burlesquing upper-middle-class complacency.
  33. Riders of Justice
    Ultimately, Anders Thomas Jensen cannot reconcile the fact that a mature story of men in crisis doesn’t coherently mesh with suspense scenes in which his protagonist viscerally annihilates a violent gang.
  34. Wrath of Man
    Cacophony eventually takes over Wrath of Man, stranding the actors in the process. Except, that is, for Jason Statham, who’s by now a master of presiding over Guy Ritchie’s gleeful chaos.
  35. Mainstream
    The film has the knowing swagger of something on the cutting edge but none of the self-awareness to realize it’s late to the party.
  36. The Killing of Two Lovers
    The film’s cramped compositions hauntingly underline the claustrophobic nature of its protagonist’s life.
  37. We're All Going to the World's Fair
    Throughout, Jane Schoenbrun reveals themself to be adroitly plugged into both the current technological and sociological landscape.
  38. Short Vacation
    The film, lacking in conflict and danger, is guided by the poignant belief that there’s no end to the world.
  39. Oxygen
    At its best, Oxygen successfully approximates the feel of an escape room.
  40. Things Heard & Seen
    Ultimately, the film’s most impactful terrors have nothing to do with things that go bump in the night.
  41. About Endlessness
    Rather than eliciting surprise and wonder, Roy Andersson channels his full stylistic arsenal in search of something far more delicate: a recognition of the sublime in the prosaic.
  42. Apples
    The film's rendering of the interplay of memory, identity, and grief is disappointingly vague.
  43. Tom Clancy’s Without Remorse
    The film is a disastrous amalgamation of modern-day tech-savvy thrills and Clancy’s conservative expressions of patriotism.
  44. El Planeta
    Amalia Ulman’s film is a bittersweet comedy of human behavior observed with a relaxed yet intently focused eye.
  45. Faya Dayi
    The documentary’s aesthetics strikingly channel the euphoric feelings induced by Ethopia’s top cash crop.
  46. Together Together
    Ed Helms and Patti Harrison’s wonderful rapport helps to keep the film grounded in the recognizably real.
  47. Sisters with Transistors
    Much of the film’s power comes from a series of deft, often wry juxtapositions between video and audio.
  48. Limbo
    A comedy about the migrant crisis is more daring than a coming-of-age story, and Limbo, wanting it both ways, dilutes its best instincts with sops to formula.
  49. Red Moon Tide
    Lois Patiño’s Red Moon Tide is a work of unmistakable horror, one predicated on such ineffable dread that the impact of climate change becomes a sort of Lovecraftian force.
  50. Mortal Kombat
    In spite of its occasionally engaging displays of gnarly brutality, the film too often feels like an adaptation of a player select screen.
  51. Stowaway
    By paring their story down so much, the filmmakers only end up highlighting just how little it contains.
  52. Paris Calligrammes
    While Ulrike Ottinger accesses the most consequential of decades through nostalgia, she does so with humility.
  53. The Mitchells vs. The Machines
    While the film certainly lays out the dangers of technology run amok, it also sees its power to connect people.
  54. Bill Traylor: Chasing Ghosts
    Jeffrey Wolf’s documentary is a spry and inventive account of extraordinary transcendence.
  55. The Banishing
    Christopher Smith’s film applies the haunted house trope in unfamiliar ways.
  56. Jakob's Wife
    Travis Stevens’s film is psychologically astute, until it gives itself over to turning subtext into extremely legible text.
    • 58 Metascore
    • 38 Critic Score
    Monday
    Ultimately, the film is unable to overcome the mundanity of its simple, overly familiar scenario.
  58. Hope
    Maria Sødahl’s considers the extreme emotions provoked by a medical emergency with an impressive force of clarity.
  59. Moffie
    Oliver Hermanus’s film is a rumination on the consequences of apartheid on those who benefit from it most.
  60. The Tunnel
    The film lacks for the methodically escalating stakes that makes the best examples of the genre so entertaining.
  61. Held
    The film doesn’t quite cut to the heart of the socially nurtured fantasies that splinter men from women.
  62. Slalom
    The film’s real subject is a young woman awakening to her oppression, rendered poignant in all its awkwardness by Noée Abita.
  63. The Unholy
    Writer-director Evan Spiliotopoulos barely capitalizes on the luridly sacrilegious implications of the film’s premise.
  64. Every Breath You Take
    Sam Claflin is best in show, but his performance is undercut by the film’s inability to escalate or explore the ramifications of its premise.
  65. The Man Who Sold His Skin
    Art, commerce, and immigration are inextricably bound in Kaouther Ben Hania’s playful and gently moving, if uneven, film.
  66. Funny Face
    Tim Sutton is a deft cartographer of how environments can shape its inhabitants.
  67. Godzilla vs. Kong
    Godzilla and Kong’s brawls have the ennui-inducing feel of a child arbitrarily smashing action figures together.
  68. Shiva Baby
    Emma Seligman’s film effectively builds tension from what is a relatively familiar, low-key scenario.
  69. Violation
    Violation impressively pushes against the typically straightforward trajectory of the rape-revenge film.
  70. Six Minutes to Midnight
    Andy Goddard’s film clumsily superimposes a frenzied, completely fictional spy adventure onto a fascinating fragment of pre-war history.
  71. The Vault
    The film misses the opportunity for a suspenseful interweaving of sports spectatorship and its characters’ high-stakes gambits.
  72. Shoplifters of the World
    The film lacks for the empathy, curiosity, and sense of humor that are the defining characteristics of the Smiths’s music.
  73. Nobody
    The film offers chaos by the yard with no real stakes or emotional reverberations.
  74. Enforcement
    The film is both a lurid urban thriller and an earnest parable about (almost literally) walking a mile in someone else’s shoes.
  75. The Fever
    In the film, Manaus is a place of irreconcilable tension between the lush natural world and the cold, metallic world of industrial modernity.
  76. The Courier
    Dominic Cooke’s film is content to regurgitate some of the more tired artistic tropes about the Cold War.
  77. Zack Snyder's Justice League
    The film could be taken as an intentional travesty of the superhero genre, if only it weren’t so tortuously tedious.
  78. The Inheritance
    The film’s throwback nature is in sync with Ephraim Asili’s interest in wanting to keep the legacy of black activism alive.
  79. Come True
    The film offers a glimpse of a world where screens are pores in the boundary between dreams and waking life.
  80. A Cop Movie
    Alonso Ruizpalacios voices a profound sense of powerlessness on the part of the police without sentimentalizing the abuses and biases of the profession.
  81. Cosmic Sin
    Every story beat is unimaginatively cribbed from better films and every tepid exchange of dialogue is unconvincingly performed.
  82. Bad Luck Banging or Loony Porn
    After a while, it’s hard not to feel like Radu Jude is simply shooting fish in a barrel.
  83. Next Door
    Unlike Malcom & Marie, Daniel Brühl’s feature-length directorial debut proves to be authentically self-castigating.
  84. Mr. Bachmann and His Class
    The documentary exists within the very restricted pantheon of films that successfully reap the cinematic potential of pedagogy.
  85. Fabian: Going to the Dogs
    Its characters are suffused with a paradoxical kind of fear that can only happen in a dream, the dread before an immense catastrophe that’s unavoidable because it’s already happened.
  86. Wheel of Fortune and Fantasy
    Ryûsuke Hamaguchi’s film is an alternately scathing, erotic, terrifying, and affirming fable of the primordial power of storytelling.
  87. Introduction
    The film is a modern melodrama of grit, beauty, jagged edges, and resonant dead ends and false starts.
  88. Coming 2 America
    Even by the woeful standards of decades-too-late comedy sequels, Coming 2 America is desperate, belabored, and thin.
  89. Petite Maman
    The film evinces Céline Sciamma’s profound knack for visual economy, communicating much with silent looks and structured absences.
  90. Boogie
    The film’s characters hardly possess a sense of a history or an interior life to adequately convey racism’s psychic toll.
  91. Keep an Eye Out
    Quentin Dupieux imbues a trite genre scenario with a Kafkaesque brand of comic existentialism.
  92. Chaos Walking
    Beneath its perfectly entertaining surface, the film is a mess of contradictions that fails to live up to its own potential.
  93. A Shape of Things to Come
    The film suggests a fusion of an eco-doc and acid western, and this disparity between genres results in a mysterious tension.
  94. Language Lessons
    Had the film trusted its self-imposed minimalism a little more, it might have been a lot more successful as a character study.
  95. Raya and the Last Dragon
    On its own gorgeously depicted terms, this film sticks the landing as a celebration of hope, a manifestation of what unfettered trust in our shared humanity could look like.
  96. Lost Course
    What distinguishes the film from ordinary journalism, and what constitutes its intervention in reality, is a difference in timescale.
  97. My Salinger Year
    The film fails to effectively seize on how its main character’s life and work experiences have affected her as a person and artist.
  98. The SpongeBob Movie: Sponge on the Run
    If the SpongeBob franchise has finally gone on the run, it seems like it’s left the audience that matters most in the dust.
  99. Cherry
    Though the film touches on numerous hot-button topics and is packed with incident and humor, its self-aware style—from straight-to-camera narration to slow motion to visual tricks like the washing out of an entire background so a character will pop out in bright color—and simplistic characterizations deprive it of the chance to say much of anything.
  100. My Darling Supermarket
    If the world outside the Supermercado Veran is rife with poverty and crime, we wouldn’t know it from inside this little cocoon.
Page:

Top Trailers

See all »
See all trailers »