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. Angel Has Fallen
    The film seems to have cobbled its set pieces together from a series of close-ups edited as if by random selection.
  2. Vita & Virginia
    The film frequently falls back on the stately demeanor of countless other historical biopics and period pieces. Read our review.
  3. Ready or Not
    Only in its giddily gory finale does the outrageousness of the film's violence come close to matching that of its plot.
  4. Jawline
    The film is refreshing for its lack of pearl-clutching, its ambivalence in assessing what it’s like to be a commodity with a will and a nervous system.
  5. Brittany Runs A Marathon
    The film is inspirational only in the sense that it may inspire an uptick in Amazon searches for running gear.
  6. Official Secrets
    Gavin Hood wrings suspense out of the parsing of the nuances of evidence and the tapping of mysterious contacts.
  7. Tigers Are Not Afraid
    It never resolves its commingling of the fanciful and the mundane into a particularly coherent argument about the legacy of trauma.
  8. End of the Century
    Castro’s feature-length directorial debut is a profound and casually artful expression of the lengths to which people go in order to not have to embody their desires.
  9. What You Gonna Do When the World's on Fire?
    The film is beautiful and occasionally quite moving, but its subject matter deserves more than art-house irresolution.
  10. Where'd You Go, Bernadette
    The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R.
  11. Good Boys
    Gene Stupnitsky’s Good Boys is Big Mouth for those who prefer ribald humor about tweenage sexuality in live action, though it lacks the Netflix show’s frankness and authenticity.
  12. Cold Case Hammarskjöld
    The film is about a mystery that isn’t solved, and how that inconclusiveness spotlights the insidious functions of society.
  13. Blinded by the Light
    The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together.
  14. 47 Meters Down: Uncaged
    The film more or less keeps things efficiently moving, wringing white-knuckle tension less through jump scares than from the darkness of a seemingly infinite void.
    • 52 Metascore
    • 38 Critic Score
    The Amazing Johnathan Documentary
    Over and over, the film reminds us that banking on a gimmick isn’t an adequate substitute for an incisive character portrait.
  16. Aquarela
    At heart, Victor Kossakovsky's Aquarela is a war film: a cacophonous survey of the global battle between man and water.
  17. Scary Stories to Tell in the Dark
    Once it gets past what feels like submission to genre demands, the drama reaffirms its focus on the central themes.
  18. The Kitchen
    The Kitchen’s inability to criticize its characters without falling back on mild endorsement for their warped empowerment cheapens the film’s moments of reflection, turning them into perfunctory scenes of mild protest.
  19. After the Wedding
    The film diverts us away from its hint of a social message using a series of tired twists and turns that don’t signify much of anything.
  20. One Child Nation
    Rich in intimate detail, the film attains a more epic power as it burrows deeper into the effects of China’s one-child policy.
  21. The Peanut Butter Falcon
    The film’s improvisational feel helps to ground a fable-esque narrative in a discernible reality.
  22. Luce
    On the whole, the film is an unvarnished reflection of the ugliness of American attitudes toward assimilation.
  23. La Flor
    The arc of La Flor’s first three episodes, in particular, suggests someone continually working and reworking the film of their dreams, adjusting the tone, the approach, the narrative twists and the emotional intensity on the fly.
  24. Fast & Furious Presents: Hobbs & Shaw
    The film’s action is the most extreme encapsulation yet of Dwayne Johnson’s bombastic blockbuster work.
  25. This Is Not Berlin
    Hari Sama never quite manages to seamlessly sync the film’s anti-bourgeois political commitments to its soap-operatic register.
  26. Them That Follow
    Unfortunately, the care with which the filmmakers set up Them That Follow’s context and their characters crumbles in the final act.
  27. Piranhas
    Claudio Giovannesi’s film is more an interesting tweak of Goodfellas than an eye-opening social statement.
  28. Tel Aviv on Fire
    Playfully biting as it can be, Tel Aviv on Fire tends to falter when it loses sight of the target of its satire.
  29. The Nightingale
    The violence of Jennifer Kent’s film doesn’t seem to build upon its themes so much as repeat them.
  30. Genèse (Genesis)
    Lesage pulls focus onto the aftershocks of trauma rather than the traumatic events themselves.
  31. Los Reyes
    The film is a quietly radical attempt to view the world from a non-human perspective.
  32. Jay Myself
    Jay Maisel’s former home suggests a bastion of creativity in a neighborhood whose rough edges have been completely sanded down.
  33. The Mountain
    For all its emotional restraint, Rick Alverson’s film builds to a point of remarkable pathos.
  34. The Great Hack
    It seems so invested in a rehabilitation of Brittany Kaiser’s image that the filmmakers’ own motives end up being its most interesting subject.
  35. Angels Are Made of Light
    The film is an intimate portrait of a nation terminally anxious about who will see fit to rule it next.
  36. Skin
    After a while, the film’s not-strictly-linear structure and handheld camerawork come to feel like self-conscious signs of “gritty” realism, attempts at masking a certain conventionality.
  37. Mike Wallace Is Here
    Much like its subject, Avi Belkin’s documentary knows how to start an argument.
  38. Cassandro, the Exotico!
    It wouldn’t be fair to call the film hagiographic, but the director’s empathy, if not love, for her subject hinders her from examining Cassandro’s wounds with much depth.
  39. David Crosby: Remember My Name
    The film captures a man haunted by his past mistakes and nearly certain that he doesn’t have the time left to begin making up for them.
  40. I Do Not Care If We Go Down in History as Barbarians
    Radu Jude’s film is a bitterly comic essay on nationalist mythologies and historical amnesia.
  41. Into the Ashes
    Aaron Henry is prone to pulling back from any moment that might give greater depth to his revenge tale.
  42. At War
    It’s always clear who’s right and who’s wrong, which material interests each is representing, and who’s lying and who’s telling the truth.
  43. Bottom of the 9th
    Raymond De Felitta’s film offers a sampler course of formulas, which creates a strangely unfulfilling tension.
  44. Crawl
    The film is more straight-faced than Alexandre Aja’s prior work, trading absurd kills for narrow escapes from gaping alligator jaws.
  45. The Farewell
    The film taps into universal truths about the passage of time, the inevitability of loss, and how we prepare one another for it.
  46. Sea of Shadows
    Richard Ladkani’s Sea of Shadows, which bristles with drama and a panicky sense of righteous anger, uses the potential extinction of one little-known species of whale to symbolize a far larger and potentially globe-spanning problem.
  47. The Lion King
    There’s something very cheap at the core of this overtly, ostentatiously expensive film, reliant as it is on our memory of the original to accentuate every significant moment.
  48. Rojo
    It masterfully sustains a sense of “wrongness” that will be felt even by those unfamiliar with Argentina’s history.
  49. Sword of Trust
    Marc Maron’s commanding aura of regret gives the film, despite its missed opportunities, an emotional center.
  50. Stuber
    More than its violence, the film is defined by its vileness, its straight-faced attachment to outmoded ideas about masculinity and law enforcement.
  51. Midsommar
    A deeply unnerving film about the indissoluble, somehow archaic bond between self and family—one more psychologically robust than Aster’s similarly themed Hereditary. And it’s also very funny.
  52. Spider-Man: Far from Home
    Jon Watts deftly weaves the epic and the mundane aspects of Spider-Man’s existence throughout the film.
  53. Ophelia
    Transforming Ophelia’s abuser into a helpful co-conspirator hardly seems like the most daring feminist reading of Hamlet.
  54. Annabelle Comes Home
    The film is at least as likely to elicit laughs as shrieks, and certainly unlikely to leave a lasting impression.
  55. Three Peaks
    The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.
  56. The Other Story
    Through this endless string of undercooked subplots, Avi Nesher’s film continually trips over itself.
  57. Maiden
    Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material.
  58. Child's Play
    By the end, it becomes what it initially parodies: a dime-a-dozen slasher film with a silly-looking doll as the villain.
  59. In the Aisles
    By subverting the impulse to indulge a winning romance between its two bright European stars, In the Aisles insists on the dignity of its appealing but rather thin characters.
  60. Nightmare Cinema
    The anthology justifies Mick Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.
  61. Toni Morrison: The Pieces I Am
    In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.
  62. The Quiet One
    In the end, the film feels like a sketch that’s been offered in place of a portrait.
  63. Wild Rose
    Tom Harper’s film empathetically probes the growing pains of self-improvement.
  64. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    Martin Scorsese culls various images together to offer a startlingly intense vision of America as place that, to paraphrase Bob Dylan, essentially believes in nothing, following one demoralizing crisis after another.
  65. Shaft
    Ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.
  66. Toy Story 4
    The film seamlessly interweaves fun escapades and earnest emotions, but it lacks the visual power of its predecessor.
  67. Men in Black: International
    The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.
  68. American Woman
    Sienna Miller lends credibility to a character that in other hands might seem like a caricature of the white underclass.
  69. The Reports on Sarah and Saleem
    We never spend enough time with the characters to believe the urgency, and lushness, of their cravings.
  70. Our Time
    The film elides politics in order to earnestly consider whether love is necessarily an act of possession.
  71. Blue Note Records: Beyond the Notes
    The documentary proves that the history and mythology of American jazz is as intoxicating as the music itself.
  72. Being Frank
    The film sends the curious message that that any time an abusive parent spends with a child is time well spent.
  73. Late Night
    The film lacks for the more lacerating, freely parodic energy of The Larry Sanders Show and 30 Rock.
  74. Papi Chulo
    A shrill and insipid spectacle of cross-cultural communion, but don’t call it stupid, as that would suggest that it doesn’t know exactly what it’s doing.
  75. Dark Phoenix
    The film is an all-too-fitting whimper of a conclusion to a franchise that never remotely fulfilled its potential.
  76. This One's for the Ladies
    There’s a surprising sense of communal exchange between the male strippers and their fans in Gene Graham’s documentary.
  77. Funan
    There are hints that the film will scale itself to the broader historical context of this era, but the screenplay never elaborates on the ethnic strife the undergirds the Cambodian genocide.
  78. The Raft
    The film uses Santiago Genovés’s experiment to scrutinize memory and capture the feeling of life under a very curious sort of dictatorship.
  79. Bacurau
    The film succeeds as a stingingly personal missive aimed squarely at Brazil’s right-wing president.
  80. The Last Black Man in San Francisco
    The film simultaneously announces itself as an expressive portrait of a city, an endearing ode to male comradery, a leisurely paced hangout flick, an absurdist comedy, and a melancholic reflection on gentrification and urban black experience.
  81. Framing John DeLorean
    John DeLorean has a biography that could have been reverse engineered from a Hollywood epic about the rise and fall of an auto-industry mogul.
  82. Pavarotti
    Throughout, the too-brief depictions of Luciano Pavarotti’s flaws are conspicuously shrouded in a veil of hagiography.
  83. Too Late to Die Young
    The experience of watching Dominga Sotomayor’s film is not unlike entering a stranger’s dream without an anchor.
  84. The Fall of the American Empire
    Despite a few undeniably intense and lurid moments, the film lacks the pulsating fury of a significant genre work.
  85. Ma
    In the end, the filmmakers settle for stigmatizing victimhood, abusing Sue Ann almost as much as her former tormentors.
  86. The Image You Missed
    The film finds Dónal Foreman exploring the suggestive gaps that exist between his own biography and that of his father.
  87. Godzilla: King of the Monsters
    The film is frustrating in the end for reaffirming the traditional blockbuster’s allegiance to human perseverance.
  88. Leaving Home, Coming Home: A Portrait of Robert Frank
    Beautiful loneliness, as the film suggestively reveals, is a texture that Frank knows all too well.
    • 40 Metascore
    • 50 Critic Score
    Domino
    The film goes through its motions too quickly for its imagery to convey the irrepressible force of provocation.
  90. Parasite
    The only thing that keeps Parasite just slightly below the tier of Bong’s best work, namely The Host and his underrated and similarly themed 2000 debut film, Barking Dogs Never Bite, is the overstuffed pile-up of incident that occurs toward the end.
  91. Once Upon a Time ... in Hollywood
    The film is Quentin Tarantino’s magnum opus—a sweeping statement on an entire generation of American popular culture and an almost expressionistic rendering of the counterculture forming at its margins, gradually growing in influence.
  92. Booksmart
    It's an R-rated teen comedy that proves that you can center girls’ experiences without sacrificing grossness, and that you can be gross without being too mean.
  93. Woodstock: Three Days that Defined a Generation
    Throughout, the era-defining yet problem-plagued music festival astounds in large part for all the disasters that didn’t occur.
  94. The Souvenir
    Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.
  95. Aladdin
    Guy Ritchie’s live-action remake is content to trace the original’s narrative beats with perfunctory indifference.
  96. Brightburn
    The way the film shuttles through its 90 minutes, it’s as if it’s been stripped of its most crucial narrative parts.
  97. The Lighthouse
    Robert Eggers loosens the noose of veracity that choked his meticulously researched but painfully self-serious debut just enough to allow for so much absurdism to peek through.
  98. A Hidden Life
    Terrence Malick’s film means to seek out souls caught in the tide of history, but which move against its current.
  99. Rocketman
    As a musical, Dexter Fletcher’s film is just fun enough to (mostly) distract us from its superficiality.
  100. Pain and Glory
    Pedro Almodóvar’s latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.
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