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 Reagan Show
    The documentary is an insightful portrait of the former American president and the world that he shaped.
  2. Pop Aye
    It too quickly opts out of its Scenes from a Marriage-like potential for what amounts to an augmented take on The Straight Story.
  3. 13 Minutes
    Aside from further vilifying the Nazis, the film's ideological endgame remains a bit too slippery.
  4. Okja
    In Okja, a transporting protest fantasy becomes another shrill dust-up in the waging of the culture wars.
  5. War for the Planet of the Apes
    The psychological wars that have made the prequels simmer with tightly wound tensions are given their most cutting treatment yet.
  6. Baby Driver
    Baby Driver literalizes Edgar Wright’s fascination with people’s emotional overreliance on pop culture as a cover for arrested development.
  7. The Beguiled
    The Beguiled serves as proof that what goes for naturalism in Sofia Coppola’s dominion still verges on being decorative to the point of self-parody.
  8. In Transit
    The film's thematic organization suggests the cinematic equivalent of a short-story collection, with haunting tangents and stray notes of poetry.
  9. Transformers: The Last Knight
    The sensory overload of Michael Bay's hyperkinetic cinema is such that it eradicates any actual sense of place.
  10. The Big Sick
    The film is always at least gut-rumbling and keeps its humor in situations that are morose and awkward.
  11. My Journey Through French Cinema
    Bertrand Tavernier's exquisite documentary consistently avoids mere hagiography by looking to the films themselves.
  12. Paulina
    It's unsettling and disconcerting in its complex examination of the gray area that lies between the morals we conceptually hold and the actions we’re willing to perform to affirm those beliefs in the world.
  13. The Bad Batch
    Ana Lily Amirpour has learned a few lessons from QT about the disreputable joys of blending kitsch and ultraviolence.
  14. All Eyez on Me
    The tension between verisimilitude and economy of storytelling dictates everything in All Eyez on Me.
  15. The Book of Henry
    Schmaltzy, manipulative, and tonally schizophrenic, The Book of Henry is such a monumentally misguided venture that it ends up being oddly, if unintentionally, compelling.
  16. The Recall
    Mauro Borrelli's The Recall has the look of a SyFy original movie and the self-seriousness of Ridley Scott's recent Alien films.
  17. Rough Night
    To some degree, Rough Night's attention to character detail compensates for its weaknesses as a comedy.
  18. Lost in Paris
    Lost in Paris abounds in whimsy that, for the most part, isn't irritatingly precious—a feat that's harder to pull off than it appears.
  19. Cars 3
    Cars 3 doesn't seem to care about defining the contours of its universe or exploring the possibilities of an all-car world.
  20. Harmonium
    Throughout Harmonium, writer-director Kôji Fukada works in a rapt and lucid hyper-textural style that suggests a merging of the sensibilities of Alfred Hitchcock and Yasujirô Ozu.
  21. Maudie
    Maud Lewis herself couldn’t paint a hurricane that would blow the film’s overburdened narrative off course.
  22. Moka
    Frédéric Mermoud's film makes an elaborate pretense of honoring the traditions of the observational procedural.
  23. Kill Switch
    Dan Stevens navigates the film’s literal and thematic alleyways with the same enthusiastic befuddlement that convinced many to soldier through Legion‘s more impenetrable stretches.
  24. The Journey
    Paisley and McGuinness's intellectual back and forth is rendered so compellingly that one wishes the filmmakers didn’t feel a need to resort to a surfeit of momentum-killing plot contrivances.
  25. 47 Meters Down
    Like Lisa and Kate’s pendular swings between hope and despair, Johannes Roberts’s film can’t help alternating between the genuinely terrifying and the just plain dumb.
  26. My Cousin Rachel
    After a while, the enigmatic nature of Rachel Weisz's character starts to feel less like an enticing mystery than a narrative trick.
  27. Night School
    One may wonder if Night School's most revealing material has been left on the cutting room floor, so as to offer the sort of uplift that inadvertently marginalizes the very inequalities that drive the film.
  28. The Mummy
    Too much is at stake throughout, leading to formulaic plot filler and exposition that snuff out the spark of the early scenes.
  29. Dawson City: Frozen Time
    Throughout, direcgor Bill Morrison mixes documentarian detail with an ecstatic sense of poetry.
  30. Ascent
    Fiona Tan’s comprehensive project discriminates against no particular era or pedigree of imagery.
  31. The Hero
    Sam Elliott’s calmly affecting performance is overwhelmed by a doggedly conventional screenplay that often plays like end-of-life wish-fulfillment fantasy.
  32. Raising Bertie
    The documentary mistakes its access to quotidian behaviors as evidence of the need for comprehensive educational and financial reform.
  33. It Comes at Night
    The film’s minimalism is rigorous, but its every moment of barebones craftsmanship is accompanied by plodding drama and an unsustainable heap of unanswered questions.
  34. The Hunter's Prayer
    The Hunter’s Prayer packs its brisk 85 minutes with an impressive array of car chases, gun fights, hand-to-hand combat, and foot pursuits, all cut with a precision and an economy that heightens the impact of every hit.
  35. Camera Obscura
    The filmmaker has a bad habit of dropping the psychological inquiries to dully go through the genre motions.
  36. Beatriz at Dinner
    Despite its gestures toward nuance, the very broadness of the dichotomies in the film prove to be its undoing.
  37. Captain Underpants: The First Epic Movie
    The film is packed with mirthful pranksterism, a vigorous anti-authoritarian streak, and literal potty humor.
  38. Churchill
    The film simplifies Winston Churchill's legacy for the dubious purposes of narrative momentum and emotional lift.
  39. Wonder Woman
    Wonder Woman is a strong, at times even rousing, application of the superhero film formula, but it ultimately can’t transcend the constraints of the genre.
  40. 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.
  41. Megan Leavey
    Everyone here, from fellow marines to Iraqis, is merely a supporting player in Megan Leavey's emotional journey.
  42. Band Aid
    At its most honest, the film wrestles with the reluctance or unwillingness of women to fulfill ostensibly requisite roles.
  43. Dean
    One has to wade through a lot of eye-rolling comic marginalia to get to the film's pained beating heart.
  44. Past Life
    Its improbable story gives breath to the burden of fate on those living with a past unreconciled.
  45. Vincent N Roxxy
    Its gory conclusion is presented with an ostentatious grandiosity that the rest of the film simply doesn’t justify.
  46. The Exception
    David Leveaux's film cannily incorporates elements of spycraft and sheer trash into a familiar formula.
  47. Hermia & Helena
    It may be Piñeiro’s most inspired and thrilling work to date, exhaustive in its means of keeping the viewer off balance and yet rich in its emotional implications.
  48. Buena Vista Social Club: Adios
    Adios may deepen our understanding of these musicians and their world, but it never quite stands on its own.
  49. Pirates of the Caribbean: Dead Men Tell No Tales
    Johnny Depp’s perfunctory gestures and flailing pratfalls befit a film that brings the franchise’s theme-park roots full circle.
  50. War Machine
    Writer-director David Michôd's film renders existential crises of American entitlement dull and tedious.
  51. Black Butterfly
    Its incoherent turn of events attempts to stupefy us into mistaking its deeply flawed internal logic for ingenuity.
  52. Baywatch
    In terms of body objectification, Baywatch is an equal-opportunity exploiter, but when it comes to comedy, it's a total boys' club.
  53. Long Strange Trip
    The film plays like one of the Grateful Dead's seminal concerts: protracted and digressive, yet intricate in its design.
  54. Berlin Syndrome
    Until its hasty climax, Cate Shortland's film is rewardingly patient and psychologically cogent.
  55. Everything, Everything
    The film's plot crux isn't romantic fatalism, but 2017's cutest manifestation of trendy gaslighting.
  56. Abacus: Small Enough to Jail
    Steve James is clearly positioning the film as a rallying cry, and its weaknesses as art might bolster its strength as reformatory theater.
  57. Icaros: A Vision
    The film has a calming and inevitable quality, and a leisurely sense of pacing that favors image and sound over narrative propulsion, that slows our own biorhythms, fostering our sensorial empathy with the passengers.
  58. The Woman Who Left
    It suffers by resembling arty, didactic bloat when it most begs for a more sophisticated dramatic touch.
  59. Paint It Black
    It combines the brooding intensity of a slow-burn thriller with the high-flown ornamentation of a gothic melodrama.
  60. Diary of a Wimpy Kid: The Long Haul
    The film's problem isn't so much the grossness of its humor as the laziness with which it's executed.
  61. The Commune
    The Thomas Vinterberg film's sentimentality is suspect, laced with an intriguing but vague strain of bitterness.
  62. Wakefield
    Writer-director Robin Swicord's film seems content to merely carry out its absurdist premise until the bitter end.
  63. Afterimage
    Andrzej Wajda's film is a lean, unwavering look at the effects of artistic idealism in the face of fascist doctrine.
  64. Alien: Covenant
    The only saving grace of the film's mostly recycled horrors is how they deepen Michael Fassbender's android David.
  65. The Challenge
    Here the organic and the frivolously material aren't oppositions or rivals, but partners in a spectacle for men's eyes only.
  66. 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.
  67. Snatched
    The mother-daughter relationship ostensibly at the film’s heart is largely reduced to tired jokes about how moms can be overprotective and don’t understand how to use Facebook.
  68. King Arthur: Legend of the Sword
    For all the attempts to update King Arthur to be cool and sexy, neither the character nor the film around him musters any spark.
  69. The Drowning
    If there’s anything worth mulling over about The Drowning, it's the way it proffers the East Coast couple as an inevitably miserable institution without really meaning to.
  70. 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.
  71. The Wedding Plan
    Rama Burshtein allows us to form our own impressions based on what she presents to us of the Orthodox faith.
  72. Elián
    It has the decency to recognize that only Elián González has the right to define his sense of truth for himself.
  73. The Wall
    The Wall packs a surprisingly savage punch by boiling the exploits of battle down to its essential elements.
  74. Paris Can Wait
    The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.
  75. Folk Hero & Funny Guy
    In the film's best scenes, Jeff Grace displays a delicate understanding of various modes of male fragility.
  76. Stefan Zweig: Farewell to Europe
    The film hovers between being a straight-up biopic of Zweig and a diagnosis of neoliberalism's recent ceding to neofascist policy and nationalistic fervor.
  77. Take Me
    Schilling and Healy never quite overcome the fact that Take Me is a suspense comedy that simply isn't very suspenseful or very funny and, just as importantly, never finds a thematic through line.
  78. 3 Generations
    The main character is too often pushed to the sidelines so that the filmmakers can indulge tired family-drama tropes.
  79. Chuck
    Like its protagonist, Philippe Falardeau's film gets lost in a haze of incidental cacophony.
  80. Guardians of the Galaxy Vol. 2
    The film at one point offers the finest sustained act of emotional storytelling to grace a Marvel Studios production.
  81. Last Men in Aleppo
    Feras Fayyad's film is broadly concerned with portraying the titular Syrian city as a community of neighbors and colleagues.
  82. Ta'ang
    The film follows its refugee subjects closely but with a physical and narrative distance that respects their independence.
  83. The Dinner
    The film is shrilly, luridly, dully, and unremittingly ugly, preaching to a choir that it also demonizes.
  84. A Woman's Life
    The choice of low-grade, handheld digital images further reduces the film to the clichés of revisionist literary filmmaking.
  85. Like Crazy
    Restless, at times even chaotic, the film often seems to be replicating the experience of having a manic episode.
  86. Burden
    The film dispenses with sensationalism, engaging with Chris Burden's most notorious work on its own terms.
  87. Risk
    Laura Poitras doesn't indulge in score-settling cheap shots, but seriously grapples with her contradictory subject.
  88. Julian Schnabel: A Private Portrait
    The film is intended to be placed at the altar of Julian Schnabel, an artist so singular that words simply fail.
  89. The Circle
    The film is a hokily melodramatic rise-fall-redemption story with a mostly unearned patina of greater significance.
  90. Rupture
    It attempts to dress up torture-porn tropes with a late-inning switch to science fiction that spectacularly backfires.
  91. The Lovers
    Azazel Jacobs’s film takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.
  92. Sleight
    Sleight never shows much interest in exploring how blackness can inform its genre's tropes.
  93. Obit
    The film ascribes to a conventionally contrapuntal take on the lives of those who spend all day surrounded by death.
  94. Voice from the Stone
    In none of its manifestations is grief as tidy and meticulously arranged as in Eric D. Howell's film.
  95. One Week and a Day
    The film is a comedy that depicts the difficult period of transition from mourning back into normal life.
  96. Buster's Mal Heart
    Writer-director Sarah Adina Smith's film confuses narrative gimmickry for the sensitive evocation of an inner life.
  97. Manifesto
    The film’s visceral pleasures often work at cross purposes with the cerebral message of the manifestos.
  98. Unforgettable
    The truly depressing thing about a thriller as undercoocked as Unforgettable is its failure to fly on dark fantasy.
  99. Slack Bay
    Bruno Dumont's formalism is presently charged with a spark of simultaneously controlled and spontaneous mystery.
  100. Jeremiah Tower: The Last Magnificent
    Lydia Tenaglia's direction is occasionally flashy and cluttered, but her empathy for Tower is evocative and poignant.
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