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. The Kingmaker
    The film confirms that the ruthless knack of the wealthy and powerful to remain so is a universal impulse.
  2. Redoubt
    Matthew Barney re-instills nature with some of the mystic aura that modernity, with its technologies and techniques of knowledge, has robbed it of.
  3. Doctor Sleep
    Like a traumatized psyche, it remains uncomfortably stuck in the past, replaying familiar events in an effort to empty them of terror.
  4. Light From Light
    Only in focusing so thoroughly on the normal does Paul Harrill’s film stumble upon the paranormal.
  5. Adopt a Highway
    Viewed charitably, Logan Marshall-Green’s sketchy protagonist and vague atmosphere are meant to achieve the effect of a parable.
  6. The World is Full of Secrets
    Graham Swon undermines our expectations of horror-movie conceits, attempting to tap the primordial manna of oral storytelling.
  7. American Dharma
    The film feels rather like listening to the arsonist calmly explain why he set the fire as we continue to watch it rage.
  8. Countdown
    If there’s an ethos that Justin Dec’s film believes in, it’s only that “death sucks.”
  9. Paradise Hills
    Alice Waddington’s sci-fi fantasy never finds a cohesive story wrapper for its themes.
  10. Frankie
    Only Marisa Tomei’s face can compete with Isabelle Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.
  11. Dolemite Is My Name
    After its promising first act, Craig Brewer’s film becomes a series of fleeting bits, allowing questions to pile up.
    • 54 Metascore
    • 50 Critic Score
    Terminator: Dark Fate
    The film is good enough to redeem the bad taste that lingered from its predecessors but too uninspired to make one want more.
  13. Girl on the Third Floor
    The film is loud and obvious about declaring its themes, as if to distract from their ultimate shallowness.
  14. El Camino: A Breaking Bad Movie
    For all the film’s invention, for all its trickiness, it doesn’t really move.
  15. The Kill Team
    Despite glimpses of a larger critique of the American project in Afghanistan, it lets us escape from the horrors of war before it finishes demolishing the illusion of a clean one.
  16. Black and Blue
    The film's command of action defuses concerns about whether it offers a thorough social critique.
  17. Zombieland: Double Tap
    Behind the self-awareness and the irony is merely a hollow emotional core, a lack of anything to say because saying something would require ambition rather than complacent winks and nods.
  18. Maleficent: Mistress of Evil
    In transforming folk metaphors into utilitarian attributes of an action hero, Disney exposes the emptiness of their product.
  19. Tell Me Who I Am
    By focusing so narrowly on the Lewis brothers’ relationship with their mother, the film inadvertently minimizes the scope of their abuse.
  20. Stuffed
    Erin Derham’s unadventurous aesthetic inoculates her from taxidermy’s subversive spirit.
  21. Trick
    Patrick Lussier’s film is an incompetent, nihilistic exercise in gore and pseudophilosophy.
  22. Cyrano, My Love
    The film is imbued with an airless blend of buoyant comedy and soap-operatic backstage drama that recalls Shakespeare in Love.
  23. Greener Grass
    In the film’s world, there can be no real resistance, as the suburbs have already won.
  24. The Cave
    Its depiction of the perpetual terror of living in a war zone will stick with viewers long after The Cave’s doctors have left Ghouta.
  25. The Addams Family
    Until the finale, the film tirelessly hammers home the importance of being true to yourself, yet its ultimate resolution, one of relatively uneasy compromise, confuses even that simple point.
  26. Mister America
    What’s so fascinating about the world of On Cinema is the way each creative outgrowth expands and deepens the lore, and Mister America’s universe-specific innovations renders the film indispensable in context.
  27. The Dead Center
    The film is in tune with the need to remain lucid and empathetic while in the maw of human extremity.
  28. Gemini Man
    Whatever new technology facilitated its genesis, the film is just another assembly-line reproduction.
  29. Mary
    With the filmmakers unwilling to explore a kinky, psychosexual bond between a man and his demonic lady ghost-boat, Mary comes to feel as if lacks a through line, collapsing into a series of disconnected horror-movie beats.
  30. First Cow
    The sense of a nascent community rising up out of the primordial muck is palpable, so it’s unfortunate that John Magaro and Orion Lee's characters ultimately feel outside it all.
  31. Saturday Fiction
    The hegemony of history is rigid, but Lou Ye is still able to disrupt it in the form of its representation.
  32. Low Tide
    Kevin McMullin displays a piercing awareness of the tensions that drive the dynamics of adolescent outsiders.
  33. The Harder They Come
    The Harder They Come’s greatest asset may still be its soundtrack, which makes such a stirring impact because it provides a cathartic release from the grim realities depicted on screen.
  34. Celebration
    Olivier Meyrou’s ironically titled documentary weaves a tightly constructed story about success, power, and mortality.
  35. Wrinkles the Clown
    The film’s mid-act about-face lends a refreshing sense of complexity to an otherwise superficial depiction of Wrinkles.
  36. Lucy in the Sky
    Noah Hawley treats his protagonist’s story as a somber tragedy that at times stoops to trashiness.
  37. In the Tall Grass
    Vincenzo Natali’s film divests itself of stakes in the name of total meaninglessness.
  38. The Current War: Director's Cut
    The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
  39. The Irishman
    Scorsese knows what his audience is hoping for: glory days, resurrected. But he also understands the impossibility of anyone being exactly as they once were. So he weaves that longing into both The Irishman‘s text and its technique.
  40. 10 Minutes Gone
    Almost every element of the film has been seemingly engineered to be the ne plus ultra of slapdash ineptitude.
  41. In My Room
    In My Room often exhibits an interest only in the accruing of incidents, giving it a this-happens-then-this-happens quality that defiantly eschews psychological shading.
  42. The Day Shall Come
    The film is an aimless, albeit sometimes funny, chronicle of absurd behavior and government ineptitude.
  43. The Death of Dick Long
    Daniel Scheinert’s film finds a very human vulnerability lurking beneath the strange and oafish behaviors of its male characters.
  44. Abominable
    The second half’s series of hollow visual spectacles foreground the film as a corporate product.
  45. First Love
    First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.
  46. Rambo: Last Blood
    The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.
  47. Ad Astra
    In a future where the plagues of civilization have only evolved into new shapes and sizes, it asks, in a roundabout way, if there’s anything worthier of exploration than our own relationships.
  48. Judy
    Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
  49. Loro
    Like most of Paolo Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
  50. Promare
    Promare often feels like a maximalist season finale trimmed of any build-up, a climax that’s outstanding to watch yet empty beyond its pure spectacle.
  51. I Was at Home, But
    Angela Schanalec’s film configures itself most potently in hindsight as a punch to the gut.
  52. Midnight Traveler
    Balancing rough-edge verité with highly composed images and a meticulous structure, it doesn’t preclude itself from finding something like poetry in its subjects’ struggles.
  53. Young Ahmed
    The Dardennes maintain a distance from Ahmed as a way of celebrating their refusal to reduce him to any easy psychological bullet points.
  54. Oh Mercy!
    Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime.
  55. Villains
    Maika Monroe’s engaging performance serves only to highlight how feeble and unconvincing the rest of the film is.
  56. Marriage Story
    Throughout, the subtle glimpses of a couple’s lingering affection for one another complicate the bitterness of their separation.
  57. The Laundromat
    Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
  58. Harriet
    Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible.
  59. The Moneychanger
    It’s apparent that Veiroj disdains no one so much as Humberto, but the film makes vanishingly little of the man’s undoubtedly twisted psyche.
  60. Where's My Roy Cohn?
    This sharp, to-the-point portrait of the crook, fixer, and right-wing pitbull resists the urge to darkly glamorize him.
  61. Waves
    This is a rare case of a film that’s stronger when it colors inside the lines than radically traces outside of them.
  62. Martin Eden
    Pietro Marcello’s film works better as a story of self-loathing and self-destruction than it does as a social critique or political statement.
  63. Hustlers
    The film is remarkable for capturing a brewing conflict between women while also celebrating their connection.
  64. Motherless Brooklyn
    Motherless Brooklyn feels altogether too tidy, a film that revives many of the touchstones of noir, but never that throbbing unease that courses through the classics of the genre.
  65. Fire Will Come
    The film is much more in synchrony with the haziness of its imagery when it preserves the awkwardness between characters, the impossibility for anything other than life’s basic staples to be exchanged.
  66. Ford v Ferrari
    At a time when the nation continues to weigh the fate of its auto industry, James Mangold’s depiction of the Ford Motor Company facing its first major financial threat transparently plays to nostalgic reveries of the industry’s golden age.
  67. Uncut Gems
    In the film, a man's individual tragedy illuminates the emptiness of the systems that define him.
  68. Joker
    The film is one that might have been dreamed up by one of the cynical douche bros from the Hangover during a blacked-out stupor.
  69. Sibyl
    Justine Triet is less committed to some make-believe realism than she is to the tricks that memory and language can play on us.
  70. The Goldfinch
    Enough of the individual moments pulled from the rag-and-bone shop of Donna Tartt’s sprawling mystery narrative make an emotional impact that the story’s structural issues fail to register as much at first.
  71. The Sound of Silence
    A wonderful high concept is compromised for another story of lonely people learning to connect.
  72. Color Out of Space
    The film is a vivid depiction of how a confrontation with the unknown can so easily shatter the fragile bonds that hold us together.
  73. Depraved
    Larry Fessenden diagnoses the rot of our era through the shifting personalities and power dynamics of solipsistic men.
  74. Monos
    Alejandro Landes’s film depicts amorality with minimal curiosity and a surplus of numbing stylistic verve.
  75. Downton Abbey
    Every scene here feels as if it begins with a grenade being thrown into a room, leaving one to wonder how it will be diffused, and after a while, all you see are the gears of various sublots turning separately until they mesh together and move in unison.
  76. The Wild Goose Lake
    The film’s masterstroke is that its fugitive antiheroes are framed by an environment that reflects their criminal lives back at them.
  77. Jojo Rabbit
    Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.
  78. Ema
    In the film, the literal union of bodies is the only logical means of conveying the reestablishment of emotional bonds.
  79. Honey Boy
    In Alma Har’el’s film, Shia LaBeouf’s plays an avatar of his father as an expressionistic act of self-therapy.
  80. Knives Out
    The actors’ hammy performances only compound the amusement of watching a dynasty propped up by largesse fall to pieces at the very thought of actually having to earn their way in life.
  81. Just Mercy
    In a time when awareness and acknowledgement of racial bias and extrajudicial measures by law enforcement in America is at its most widespread, such scenes feel condescendingly pitched to an unconverted audience of the imagination.
  82. Proxima
    The film falls back on a reductive rumination on the balance between maternal obligation and career aspiration.
  83. Vitalina Varela
    At last, Pedro Costa appears to be more interested in how people get on with life than how they keep the company of ghosts.
  84. The Personal History of David Copperfield
    It’s not hard to parallel David/Dickens’s head-spinningly intricate descriptors with Iannucci’s own prodding, poetically vulgar rhetoric.
  85. The Whistlers
    Corneliu Porumboiu’s film is very much a genre exercise, and a particularly Soderberghian one at that.
  86. The Truth
    The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.
  87. Beanpole
    Kantemir Balagov depicts pain in blunt terms, but he traces the aftershocks of coping and collapse with delicate subtlety.
  88. Atlantics
    As Mati Diop mourns Senegal’s lost men, she honors their grief and affords them tremendous power all at once.
  89. It: Chapter Two
    The film argues we’re stronger and better when we’re home, building communities that can oppress the oppressors and build up so-called “losers.”
  90. Liberté
    Though betraying the markings of its original form in its small revolving ensemble, single location, and frequent tableau staging, Liberté conjures a sustained ambiance and eroticism that’s unique to the language of cinema.
  91. Portrait of a Lady on Fire
    What's most stirring about Céline Sciamma's film is the lack of artifice in Héloïse and Marianne's feelings for one another.
  92. The Traitor
    It’s at its best when showing how gangsters undermine their lofty notions of nobility with displays of narcissism.
  93. Ms. Purple
    Subtlety dissipates as Justin Chon’s film grasps for something louder and more obvious.
  94. Linda Ronstadt: The Sound of My Voice
    It isn’t long into the film when the hagiographic soundbites from famous interviewees become the dominant mode.
  95. Raise Hell: The Life & Times of Molly Ivins
    The film is at its best when its focus remains on Ivins’s fierce commitment to her ideals and willingness to speak her mind.
  96. Night Hunter
    The film is so clichéd and scattershot as to make Copycat look like Peeping Tom by comparison.
  97. Don't Let Go
    Would that Jacob Estes had kept the particulars of his murder mystery as intricate as the sci-fi of his main characters’ communion.
  98. The Miracle of the Little Prince
    In a world increasingly resistant to cultural exchange, the miracle of The Little Prince is how it’s become so universally beloved, and Boonstra’s film is a worthy homage to its passionate translators who’ve been so inspired by Saint-Exupery’s story .
  99. Ága
    Milko Lazarov seems driven to record the inner workings of a singular slice of Inuit culture before it goes the way of the reindeer.
  100. The Load
    Chromatically, The Load makes Saving Private Ryan look like The Band Wagon. Yet Glavonic still manages to convey the devastation and numbness that results from atrocity without resorting to exploitation. Trauma is approached obliquely, more a subliminal fact of life than a single psychological rupture to be confronted and mended.
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