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. Joan of Arc
    Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.
  2. Zombi Child
    Bertrand Bonello’s quixotic, slow-burn genre film is political largely in the abstract.
  3. Diamantino
    The film is at its strongest when depicting how Diamantino becomes a tool of politicians hoping to oust Portugal from the EU.
  4. The Tomorrow Man
    The film is content to peddle the naïve notion that love is the panacea for all that ails you.
  5. The Dead Don't Die
    In Jim Jarmusch’s film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.
  6. John Wick: Chapter 3 - Parabellum
    The action choreography is as brutal as you expect, though the repetition in style from the first two films makes the effect less surprising.
  7. Perfect
    Eddie Alcazar’s film is a purposefully inscrutable, wandering, disconnected, symbolic, and highly precious mood bath.
  8. Photograph
    In pushing so many seemingly crucial moments off screen, the film transforms its main characters into blank slates.
  9. The Professor
    The film goes down easy because it saves the self-improvement clichés for the homestretch.
  10. Aniara
    The filmmakers are interested in world building only as a pretext for maintaining a tone of non-contemplative ennui.
  11. The Hustle
    Like other gender-swapped films in recent years, The Hustle plays the identity politics game as an end in itself.
  12. Charlie Says
    The film appears to be striving for humanistic understanding, but the end result is far too jumbled to have the proper impact.
  13. The Silence of Others
    Almudena Carracedo and Robert Bahar’s documentary is monumental for its clamorous sounding of an alarm.
  14. Pokémon Detective Pikachu
    At the very least, Ryan Reynolds’s casting perfectly splits the difference between the adorable and the absurd.
  15. My Son
    The film seeks to elevate genre clichés by slowing down the speed with which they’re typically offered.
  16. Wine Country
    The film’s relatively static approach to narrative works in scenes where the material is funny or elevated by a certain performance.
  17. The Biggest Little Farm
    The film is often quite moving in spite of its evasions, suggesting a real-life Charlotte’s Web, but one wonders what an artist with a bit more distance might’ve made of such rich material.
  18. All Is True
    It’s an unfussy, intimate chamber drama that’s fearless in confronting the attitudes of its exalted subject.
  19. Dreamland
    Miles Joris-Peyrafitte’s ultimately succumbs to melodramatic clichés and simplistic political demagoguery.
  20. Tolkien
    The film preaches of the love of creative freedom, yet finds no original form of expression of its own.
  21. El Chicano
    Throughout, the film peddles notions of self-realization and self-actualization that feel nothing short of moth-eaten.
  22. The Projectionist
    Where The Projectionist ultimately excels ... is as the kind of cultural microcosm that makes Ferrara’s other documentaries feel at once urgent and incredibly rich in their broader implications.
    • 74 Metascore
    • 75 Critic Score
    Decade of Fire
    Decade of Fire’s purpose is to make known how those in the Bronx must continue to fight even today against forces hellbent on their erasure.
  24. The Intruder
    The film is ostensibly about the war for the soul of a house, but it couldn’t feel less lived in.
  25. Georgetown
    It’s an occasionally amusing and insightful beltway satire that’s ultimately undone by its conventional mise-en-scène and predictable plot.
  26. Extremely Wicked, Shockingly Evil and Vile
    The film essentially indulges in the same act of willful distractedness as Ted Bundy’s admirers.
  27. Meeting Gorbachev
    Werner Herzog’s documentary is a rare example of the arch ironist’s capacity to be awed not by nature but by man.
  28. UglyDolls
    What’s self-worth in the 21st century without a dollar amount attached to it, and what value does UglyDolls have if kids aren’t walking out of the theater nagging their parents for toys of their favorite characters?
  29. Come to Daddy
    Unlike many [M. Night] Shyamalan films, which seem constructed out of Mad Libs, Come to Daddy retains an emotional consistency.
  30. Ask Dr. Ruth
    At its best, the film is a testament to how Ruth Westheimer’s practiced decency was literally a saving grace during the Reagan era.
  31. Long Shot
    As it proceeds toward its telegraphed rom-com ending, the film becomes just more empty rhetoric, an ineffectual reiteration.
  32. Knock Down the House
    Rachel Lears’s film is a rebuttal to the position that Alexandria Ocasio Cortez's election victory was an incidental event in American politics.
  33. Body at Brighton Rock
    Appearing to recognize the flimsiness of her material, Roxanne Benjamin overcompensates with insistent direction.
  34. The White Crow
    Ralph Fiennes’s film too conspicuously avoids an overt political perspective.
  35. J.T. Leroy
    It’s disappointing that so much of the film feels like mere tilling of the soil.
  36. Avengers: Endgame
    Every serious narrative beat in the film is ultimately undercut by pro-forma storytelling, or by faux-improvised humor.
  37. Carmine Street Guitars
    The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge.
  38. Chasing Portraits
    Its major contribution, as one museum curator suggests, may be to bring the works of Moshe Rynecki back into prominence.
  39. If the Dancer Dances
    It's less of an insightful backstage documentary than a gushing, sycophantic love letter to the late Merce Cunningham.
  40. The Curse of La Llorona
    With The Curse of La Llorona, the Conjuring universe has damned itself to an eternal cycle of rinse and repeat.
  41. Someone Great
    The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman; surely it’s no coincidence that a James Joyce poster hangs in the background of one scene.
  42. Instant Dreams
    While the film offers an appealingly nostalgic trance-out, it’s often short on detail, especially in terms of Stephen Herchen’s struggle to create the instant film technology, which director Willem Baptist reduces to exchanges of jargon in atmospheric laboratories.
  43. Rafiki
    The film's slotting of two African women into a familiar romantic structure represents a radical and important upending of contemporary Kenyan sexual mores.
  44. Under the Silver Lake
    Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism.
  45. Little Woods
    Nia DaCosta indulges one of rural quasi-thriller’s most tiresome gambits: humorlessness as a mark of high seriousness.
  46. Hail Satan?
    The documentary shrewdly illustrates how media savvy can turn a fledgling protest into an international cause célèbre.
  47. Little
    Its most amusing moments are in the interplay between the central characters as they adjust to an abruptly shifting reality.
  48. Mary Magdalene
    As the plot mechanically moves through Jesus’s greatest hits, the narrative focuses less and less on Mary Magdalene until her life feels completely beside the point.
  49. Stockholm
    Forget Dog Day Afternoon, as the film doesn’t even clear the bar set by F. Gary Gray’s tense and exciting The Negotiator.
  50. Wild Nights with Emily
    The film’s playful tone is a corrective to a century of scholarship that insisted on projecting the image of a moody spinster onto Emily Dickinson.
  51. Girls of the Sun
    With its naked celebration of self-sacrificial combat and idealization of the soldier as an avenging angel, it strikes a tone redolent of old-school war propaganda.
  52. Missing Link
    As in Laika’s other efforts, the humor in the film is more wry than gut-busting, but Chris Butler has developed some truly inventive comic characters.
  53. Teen Spirit
    In the end, the film is all too ready to transform into just another shiny pop object indistinguishable from so many others before it.
  54. Master Z: Ip Man Legacy
    The film is a reminder of the potential of these films before they became weighed down by blockbuster-ready excesses.
  55. Dogman
    The film only succeeds at evoking a firm sense of place and an accompanying air of alluring grotesquerie.
  56. Sauvage / Wild
    The film is a tale about how those who spiral so far out of control become blind, if not immune, to the severity of their symptoms.
  57. Pet Sematary
    The story has enough pathos to fulfill the expectations of a great tragedy, but the film feels like a commercial for something else entirely.
  58. The Best of Enemies
    The Best of Enemies may be based on a true story, but in so stubbornly turning the spotlight away from Atwater and the radical, grind-it-out community activism that took on the racism that Ellis helped to foster as a segregationist, it more accurately resembles an all-too-familiar Hollywood tall tale.
  59. Shazam!
    Shazam! sees DC combining the golden-age optimism espoused by Wonder Woman and the jubilant, self-aware silliness of Aquaman into a satisfying whole.
  60. Suburban Birds
    The film’s refusal to commit to its passing fancies is a highly intentional and eventually tiresome declaration of Qui Sheng’s arthouse bona fides.
  61. Wall
    So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.
  62. The Public
    The film is a clunky, overwritten attempt to pack as many tortured subplots and pre-chewed sociological insights as can possibly fit into a two-hour runtime.
  63. Unicorn Store
    Brie Larson’s directorial debut is nothing so much as a series of quirks.
  64. The Haunting of Sharon Tate
    In a film that features Charles Manson and his disciples, there’s something unsavory about presenting Sharon Tate as one of the crazy ones.
  65. Honeyland
    As the world continues to suffer ever-increasing mass die-offs of honeybee colonies, Ljubomir Stefanov and Tamara Kotevska’s film reminds us that there’s indeed a better way to interact with our planet—one rooted in patience, tradition, and a true respect for our surroundings.
  66. The Plagiarists
    This is a rigorous film concerned with questions of cultural appropriation, learned behavior, and the very texture of life in our content-saturated present (a feeling not exclusive to urban centers), but one with the good humor and wisdom to disguise itself as something far more familiar.
  67. The Chambermaid
    Lila Avilés’s film reserves the possibility of flirtations with disaster to turn into acts of emancipation.
  68. The Beach Bum
    With the film, Harmony Korine solidifies his position as the premier cartographer of the Sunshine State as a place of unhurried pursuits.
  69. Dumbo
    Tim Burton manages to put his stamp on this clunky behemoth of a film, but in the end, the Mouse always wins.
  70. The Highwaymen
    Where Bonnie and Clyde is gloriously tragic, The Highwaymen is blunt and anti-climactically savage, fulfilling as well as somewhat critiquing former Texas Ranger Frank Hamer’s bloodlust.
    • tbd Metascore
    • 75 Critic Score
    Manta Ray
    Manta Ray functions as an oblique portrait of writer-director Phuttiphong Aroonpheng’s anger about the Rohingya refugee crisis in Thailand.
  72. Working Woman
    Michal Aviad’s film forcefully brings home a reality that many of us have been aware of only intellectually.
  73. A Vigilante
    It conspicuously tries to distance itself from the revenge film’s propensity toward florid excess.
  74. The Brink
    Alison Klayman’s fly-on-the-wall documentary cuts Trump’s Rasputin down to size but doesn’t completely dismiss his power.
  75. Diane
    Every moment in Jones’s film is so precisely textured that it becomes fantastical.
  76. The Dirt
    Like most biopics, The Dirt crams so many events into its narrative as to compromise the sense that these are real characters in the here and now.
  77. A Land Imagined
    Writer-director Yeo Siew Hua suggests that becoming another person is as easy as dreaming it.
  78. Out of Blue
    Carol Morley’s film wants to blow our minds, but it succeeds only at rousing our boredom.
  79. Dragged Across Concrete
    With his latest, S. Craig Zahler doubles down on the best and worst elements of the pulp film.
  80. MS Slavic 7
    In its balance of a wispy narrative and long, quiet episodes of textual close reading, the film feels incomplete in a productive way.
  81. Us
    Even though it’s not as tidily satisfying as Get Out, the new film is both darker and more ambitious, and broader in its themes.
  82. Buddy
    It would appear that some of Buddy’s humans have indeed written off their fellow people. Does this matter? Honigmann’s film doesn’t plumb this potentially resonant question, as it’s hesitant to look a gift dog in the mou
  83. Ramen Shop
    Its drawn-out descriptions of culinary traditions and practices are enticing enough, but the same can’t be said about the characterizations.
    • 65 Metascore
    • 50 Critic Score
    Sunset
    László Nemes’s follow-up to Son of Saul simply feels like two films awkwardly affixed to one another.
  85. Captive State
    The film might have better performed if it consisted of more than a smattering of good but relatively isolated ideas.
  86. Triple Frontier
    J.C. Chandor turns an intensely physical narrative into another of his inadvertently generic studies of procedure.
  87. The Inventor: Out for Blood in Silicon Valley
    Alex Gibney’s documentary tells a dramatic, if somewhat workmanlike, story of Silicon Valley hubris meeting old-fashioned scamming.
  88. The Eyes of Orson Welles
    The Eyes of Orson Welles honors the central paradox of Welles: that he was a joyful poet of alienation who was, like most of us, both victim and victimizer.
  89. The Juniper Tree
    The Juniper Tree’s peculiar pedigree as an American indie fueled by European arthouse tropes and constructed with a flair for the avant-garde and the handmade marks it as a welcome rediscovery.
  90. Five Feet Apart
    In the film, hardly any fact about cystic fibrosis is raised without being doubly, even triply, underlined for viewers.
  91. Knife + Heart
    The film quickly settles into a holding pattern of repetitive porno-movie hijinks and increasingly listless murder scenes.
  92. The Aftermath
    The film’s threads of personal loss and cultural friction are all but lost amid the tawdry romantic entanglements.
  93. The Mustang
    Single-minded and direct in its execution, the film is a hard look at the extremes of masculine guilt and healing.
  94. Combat Obscura
    The portrait it paints of its Marines is appropriately discordant, redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission.
  95. The Hummingbird Project
    Throughout, the film can’t decide what attitude to strike toward its characters’ evident greed.
  96. Yardie
    The film’s tendency to break the “show, don’t tell” directive becomes especially irksome in its homestretch.
  97. The Kid
    Its scenes wildly escalate to a fever pitch at the drop of a hat, before then ending, more often than not, with abrupt violence.
  98. Gloria Bell
    The film’s open-ended narrative tends to be undermined by the simplicity of its thematic signifiers.
  99. Two Plains & a Fancy
    No description can do justice to its best moments, which render the absurd and sublime one and the same.
  100. Captain Marvel
    The film doesn't pay nearly enough attention to Danvers’s crucial emotional metamorphosis from dual-identity self-doubter to fearless warrior battling to keep Earth safe.
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