Slant Magazine's Scores

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For 7,775 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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  1. Split
    Split is personal and outlandish, with questionable themes, riveting plotting, somber storytelling, and elegant construction.
  2. Bad Santa 2
    Both a potent rendering of and cure for the holiday blues, Bad Santa 2 shows that even the most hopeless situations can be remedied and that just about anyone is capable of redemption
  3. Spa Night
    It recombines elements of the emigrant saga and the coming-of-age story into a searching, fresh-faced portrait.
  4. A United Kingdom
    The Amma Asante film's broade sociopolitical overview is balanced by the intimate attention paid to the leads.
    • 72 Metascore
    • 75 Critic Score
    Neither Heaven Nor Earth
    While he may indulge in the occasional programmatic jump scare, writer-director Clément Cogitore ultimately heaves his debut feature closer to the realm of psychological terror, understanding that there's nothing more frightening or darker than the human mind.
  6. The Eagle Huntress
    Aisholpan’s liberation is a harbinger of the growing pressure that the outside world exerts on a once isolated community.
  7. Viva
    Viva‘s intentionally flat performances and flatter double entendres...mercilessly satirize the Playboy mindset even as the film revels in the kitschiness of it all.
  8. Abortion: Stories Women Tell
    Tracy Droz Tragos's documentary examines its titular subject with a compassionate eye for regional detail.
  9. Dancer
    It refuses to pass judgment on whether or not Sergei Polunin's success was worth so much sacrifice and heartache.
  10. Bobby Sands: 66 Days
    Brendan J. Byrne's documentary about Bobby Sands colors its familiar formal lines with welcome intelligence.
  11. Do Not Resist
    Director Craig Atkinson's documentary explicates its points with blunt but persuasive efficiency.
  12. Cameraperson
    Cameraperson is certainly a collection of memorable images, but it's more so Johnson's facility with narrative, on a micro and macro level, that impresses.
  13. The Seasons in Quincy: Four Portraits of John Berger
    It insists that it's in moments of small talk, between life's larger events, that one finds vitality.
    • 75 Metascore
    • 75 Critic Score
    Silicon Cowboys
    Jason Cohen’s slick aesthetics manage to elevate Silicon Cowboys beyond fellow “info dumps” of this caliber.
  15. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    Writer-director Joseph Cedar charts Norman's rise-and-fall arc with the attention to detail of a procedural.
  16. Peter and the Farm
    Peter and the Farm is a warts-and-all portrait that asserts its subject's sense of purpose even as it seems to slip out of his grasp.
  17. 20th Century Women
    Mike Mills’s 20th Century Women incurs sorrow at the prospect of saying goodbye to its characters.
  18. The Monster
    The film has an eerily WTF arbitrariness that should be the domain of more films in the genre.
  19. Free Fire
    Ben Wheatley's film reduces the modus operandi of the action movie down to its starkest elements.
  20. Paradise
    Andrei Konchalovsky's film is more than an exercise, as pitiless moments accumulate with enraged relentlessness.
  21. Blue Jay
    Mark Duplass and Sarah Paulson have extraordinary chemistry, painting a cumulative portrait of the fragility and rareness of being truly in sync with a partner.
  22. A Family Affair
    Throughout A Family Affair, time is continually collapsed to the point where events separated by many years bleed into one another.
  23. Belle Épine
    Neither sentimentality nor nostalgia for reckless years gone by can be found in Rebecca Zlotowski's Belle Epine, which makes its tale of teenage rebellion in the face of overwhelming grief fall closer to a sobering character study than a classical youth film.
  24. Kékszakállú
    Like Shohei Imamura, Argentinian writer-director Gaston Solnicki can be understood as a cinematic "entomologist."
  25. Get Out
    Throughout Get Out, Jordan Peele incisively probes the connection between liberal racism and good old-fashioned white supremacy.
  26. The Son of Joseph
    The insistence of Green’s gaze throughout the film encourages us to look beyond the mechanisms of speech and behavior at the more uncanny movements of the conscience.
  27. Creepy
    In terms of formal orchestration, Creepy is as sublime as any prior Kiyoshi Kurosawa film.
  28. XX
    These shorts follow female protagonists as they wrestle with exclusion and implicit social standards that may or may not extend to their male counterparts.
  29. Seasons
    Jacques Perrin and Jacques Cluzaud's Seasons is a nature documentary that reveals itself as a story of tragic usurpation.
  30. The Prison in Twelve Landscapes
    The plaintive plain-spokenness of the interviewees, the way they matter-of-factly speak of atrocity, is transcendent and intensely haunting.
  31. The Illinois Parables
    Even more diverse than the film's historical material is its eccentric mash-up of styles and approaches.
  32. A Star Is Born
    Bradley Cooper understands that a message is only as resonant as its messenger, so he surrounds himself with collaborators, old and new, who can sell even the hoariest cliché.
  33. Old Stone
    Johnny Ma's Old Stone is a lean, nasty entry in a subgenre that could be termed the bureaucratic noir.
  34. Two Trains Runnin'
    Sam Pollard's documentary teeters on reaching a higher plane of meaning simply through the efficiency of its information.
  35. On the Map
    It captures how sports can bring wholly disparate people together to accomplish feats that change the destiny of nations.
  36. My Life as a Zucchini
    The film circumvents bleakness with a thoroughgoing commitment to understanding and intimacy.
  37. Spider-Man: Far from Home
    Jon Watts deftly weaves the epic and the mundane aspects of Spider-Man’s existence throughout the film.
  38. Contemporary Color
    The Rosses share David Byrne’s interest in the minutiae of habitats and the comforting enclosure they provide along with the discomfiting constriction of anonymity.
  39. The Party
    It captures the qualities of live theater that are rarely transmitted to film, of being immediate, alive, and spontaneous, as if the viewer is just a stone's throw away from the characters.
  40. The Ornithologist
    The film revels in a hushed and lucid expressionist naturalism that’s reminiscent of Andrei Tarkovsky’s Stalker.
  41. Only the Brave
    Joseph Kosinski's Only the Brave displays a kinship to Howard Hawks’s hard-nosed, old-fashioned pragmatism.
  42. The Commuter
    The final optimism of the film's worldview lands with a conviction that's rare in contemporary Hollywood cinema—a resilience that's strong enough for Liam Neeson to ride out on.
  43. Coco
    The film brings Pixar's customary emotional directness to a festive, reverent, and wide-ranging pastiche of Mexican culture.
    • 62 Metascore
    • 75 Critic Score
    We Are the Flesh
    The film establishes a hypnotic rhythm through razor-stropped editing and a reverberant sound design that later scenes will disrupt with alarming impunity.
  45. Tempestad
    This is a heartfelt essay film that digs into several instances of trauma occasioned by Mexico's drug war.
  46. Starless Dreams
    Mehrdad Oskouei avoids sentimentalizing the girls or tritely lamenting their stolen innocence.
  47. Leonard Cohen: Bird on a Wire
    Cohen here is ever the model of grace and dignity around his peers, if not exactly entirely at peace with himself.
  48. All These Sleepless Nights
    Director Michal Marczak's film finds a unique vitality in its densely constructed environment.
  49. The Little Hours
    For all its hip ludicrousness, The Little Hours has a point: to almost earnestly riff on how atheism has taken hold of 21st-century America, by rooting our nation’s moors in a time of great austerity, sexism, classism, and persecution.
  50. Donald Cried
    Finding the drama and humor in everyday situations like these isn't easy, but Avedisian makes it look as natural as swinging on a vine.
  51. The Big Sick
    The film is always at least gut-rumbling and keeps its humor in situations that are morose and awkward.
  52. Ingrid Goes West
    Ingrid Goes West recalls Fear and Single White Female — two films right in the sweet spot of mid-'90s nostalgia that Ingrid's peers love to recall — but is more indebted to Alexander Payne's social comedies, which dwell in the backwash of the American dream.
  53. Call Me by Your Name
    Call Me by Your Name is a fairly straightforward coming-of-age story that's at its finest in moments when the relationships take on larger meanings than their literal context implies, and Luca Guadagnino finds evocative aesthetic expressions for them.
  54. Berlin Syndrome
    Until its hasty climax, Cate Shortland's film is rewardingly patient and psychologically cogent.
  55. A Hidden Life
    Terrence Malick’s film means to seek out souls caught in the tide of history, but which move against its current.
  56. City of Ghosts
    The director’s apparently frank and intimate relationships with the RBSS’s heroic journalists help sustain City of Ghosts‘s undeniable urgency, which culminates in a final image of appropriate, irresolvable anguish.
  57. Menashe
    Striking throughout are the seemingly caught-on-the-wing moments that subtly enrichen the film’s characterizations.
  58. My Happy Family
    It casually lays out the domestic space where the story’s events takes place with acutely detailed cultural specificity.
  59. To the Bone
    One of the film’s great qualities is its casualness and willingness to be simply human and to not let sociological politics dominate.
  60. Long Strange Trip
    The film plays like one of the Grateful Dead's seminal concerts: protracted and digressive, yet intricate in its design.
  61. Dina
    We come to understand the camera’s distance from its subjects as an act of respect that allows the complex, funny, and indomitable personalities to shine through.
  62. Chasing Coral
    What makes it play as more than just another activist doc is its focus on the power of images as a way to inspire change.
  63. Keep Quiet
    The filmmakers astutely reveal how a culture can eat another alive and somehow live with itself.
  64. The Island Funeral
    The film rolls political commentary into the template of a “lost highway” horror film by forgoing ironic distancing.
  65. David Lynch: The Art Life
    Throughout the documentary, the undisguised regret and longing of David Lynch's reminiscences are often startling.
  66. On the Beach at Night Alone
    Hong Sang-soo simultaneously positions filmmaking as the ultimate act of atonement and evasion, eviscerating himself so that he may live to stage several more films about the futility of getting hammered and worshipping and bedding gorgeous young women.
  67. As You Are
    The outline of Miles Joris-Peyrafitte’s As You Are is certainly well-worn, but this coming-of-age film nonetheless stands out for its nuanced sense of detail and the sympathy it extends to its main characters.
  68. Logan Lucky
    Logan Lucky is both a Robin Hood fantasy and a uniquely Soderberghian lark, an ensemble comedy that’s simultaneously effervescent and cerebral.
  69. On Body and Soul
    On Body and Soul's fusion of romance, comedy, ultraviolence, and political commentary has the logic of a lucid dream.
  70. The First Purge
    Especially early on, Gerard McMurray often rejects the exhibitionist slaughter that James DeMonaco established as the Purge series’s modus operandi in favor of violence that’s rawer and realer.
  71. Have a Nice Day
    The film's pale-hued, Flash-like animation is abundant in detailed backgrounds that make the characters stand out like placards, allowing for Jian's critique of modern China to land with maximum force.
  72. The B-Side: Elsa Dorfman's Portrait Photography
    Errol Morris films Dorfman and her work with a rapt attentiveness that maps the nostalgic and regretful stirrings of her soul.
  73. Nakom
    Kelly Daniela Norris and T.W. Pittman's film immediately announces itself as a modest triumph of world-building.
  74. Win It All
    There's an artisanal scruffiness to Win It All that testifies to Joe Swanberg’s quiet fluidity as a filmmaker.
  75. The Land of Steady Habits
    Nicole Holofcener's The Land of Steady Habits often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria.
  76. Like Me
    Like Me is exhilarating because of Robert Mockler’s willingness to deviate from his satire so as to surprise himself with seemingly spontaneous emotional textures and tangents.
  77. White Sun
    Deepak Rauniyar may be more skilled dramatist than inspired image-maker, but his admirably balanced and humane social and political perspective is bracing nevertheless.
  78. Hounds of Love
    Hounds of Love builds to a crescendo that earns its emotional catharsis while staying true to its roots as a truly chilling and intense thriller.
  79. SHOT! The Psycho-Spiritual Mantra of Rock
    Throughout, the content and tenor of certain stories told by Mick Rock ambitiously inform the film’s style.
  80. The Death of Louis XIV
    Catalan prankster Albert Serra's film ultimately emerges as a compact, improbably riveting viewing experience.
  81. The Disaster Artist
    James Franco's The Disaster Artist perfectly conveys the surreal hell of what the production of Tommy Wiseau's The Room must have been like.
  82. Porto
    It grapples with emotional enigma of infatuation, and the question of how such a mighty force can also be so fleeting.
  83. Annette
    The musical format proves a natural fit for Leos Carax’s love of the visual fantasies created by the cinema’s most basic means of illusion.
  84. Most Beautiful Island
    Many genre movies in which bad things happen to women end with them fighting back, but here, as people surely would in real life, they just take the money and run.
  85. The Dreamed Path (Der traumhafte Weg)
    That the film adheres, upon close scrutiny, to the rough shape of a classical romantic tragedy—a seemingly intuitively understandable genre—only confirms the extreme degree to which Schanalec’s idiosyncratic manner of storytelling skirts and frustrates expectations.
  86. Karl Marx City
    Petra Epperlein's personal ties to the subject matter provides the documentary with a necessary anchor point.
  87. Stronger
    David Gordon Green zeroes in on the intricacies of Jeff Bauman and Erin Hurley's dysfunctional relationship, offering up an unassuming portrait of wounded love and solitude reminiscent in its sense of detail of the filmmaker's early work, like All the Real Girls.
  88. One Week and a Day
    The film is a comedy that depicts the difficult period of transition from mourning back into normal life.
  89. i hate myself :)
    Few documentarians give themselves to their work as literally as Joanna Arnow.
  90. Last Men in Aleppo
    Feras Fayyad's film is broadly concerned with portraying the titular Syrian city as a community of neighbors and colleagues.
  91. Glory
    The film's rough-hewn naturalism belies an exquisite sense of pace and a sneaky breed of gallows humor.
  92. Heal the Living
    The film allows the sorrows of losing a life and the joys of saving it to remain congruent.
  93. The Meyerowitz Stories (New and Selected)
    Noah Baumbach has made a cunning and frequently hilarious film about exhuming the past and finding no diamond in the rough.
  94. Violet
    Devos's impressive debut bores into the mourning process and its piquant combination of emotional numbness and sensory vulnerability, rigorously avoiding finding an easy way out of this quagmire.
  95. The Cage Fighter
    The Cage Fighter isn't sentimental about the notion of an aging sports hero who needs one more day in the proverbial sun, recognizing that desire as macho folly.
  96. November
    Rainer Sarnet is as invested in telling a convoluted story that feels rooted in millennia-old folklore as he is in unabashedly experimenting with form and style for the sake of visual pleasure alone.
  97. The Kid Who Would Be King
    Joe Cornish’s film is vigilant in its positivity and hope for the future at nearly every turn.
  98. Widows
    For all its flaws, Widows is McQueen’s most fascinating, bracing feature to date, a demonstration of the filmmaker embracing his commercial instincts instead of trying to pass them off as weighty and important.
  99. Leaning Into the Wind
    The film has a wandering, lonely purity. We feel as if we've been allowed to fleetingly swim through Andy Goldsworthy's psyche.
  100. A Gray State
    Erik Nelson's film straddles a fine and admirable line between lurid sensationalism and sober humanism.
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