Slant Magazine's Scores

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For 7,772 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. The Nice Guys
    Shane Black's The Nice Guys doesn't want for great exchanges, and even disposable conversations brim with acidic wit.
  2. Journey to the Shore
    Kurosawa allows for a few brief flights of fancy, further abandoning realism for whimsical bursts of glowing color, but otherwise it's a humdrum slog of a voyage.
  3. The Other Side
    Roberto Minervini's documentary is as quintessentially American a text as one could hope for in today's divided union.
    • 85 Metascore
    • 88 Critic Score
    Kaili Blues
    Bi Gan's film is a soulful depiction of China's increasingly rapid pace of cultural and economic transformation.
  5. Almost Holy
    Steve Hoover's documentary affords one an unusually intimate glance at the collapsed infrastructure of the former Soviet Union.
  6. Song of Lahore
    The final note of optimism is consistent with the documentary's overall tone and interest in perseverance.
  7. The Darkness
    This enterprise is so listless that one can't even work up a proper head of self-righteous steam over the spooky Native American clichés that drive the plot.
  8. Money Monster
    Jodie Foster manages the interlocking tones of outrage and low humor with an unfailing rhythm and an engagingly casual cynicism.
  9. Love & Friendship
    No Austen adaptation, even the most revisionist ones, have ever felt as vicious as Whit Stillman's Love & Friendship.
  10. The Trust
    Throughout Alex and Benjamin Brewer's film, Nicolas Cage holds the screen with his distinct timing and expressive force of being.
  11. Equals
    The Drake Doremus film all comes down, simplistically and repeatedly, to “feelings make us feel alive.”
  12. X-Men: Apocalypse
    The issue with X-Men: Apocalypse is that Bryan Singer suggests so many possible directions to go in and still chooses the least interesting one.
  13. A Monster with a Thousand Heads
    The politics of the film are consistently muddled by director Rodrigo Plá's conspicuous formal choices.
  14. How to Plan an Orgy in a Small Town
    The ingenuity of writer-director Jeremy LaLonde's film ends with its title.
  15. Paths of the Soul
    Zhang Yang achieves an astonishing immediacy by simply allowing the prostration process to play out over and over with minimal aesthetic interference.
  16. What We Become
    When Bo Mikkelsen springs his traditional yet cathartic climax, it's earned because the violence matters truly as violation.
  17. Last Days in the Desert
    It's never made clear how witnessing a family deal with their specific issues affects Jesus's own perspective on his destiny.
  18. Sunset Song
    Terence Davies's sheer talent for creating sensuous images conveniently masks how little of this feeling actually emerges from the plot these images illustrate.
  19. Captain America: Civil War
    The undeniable fun of Civil War's action scenes only exacerbates the failure of the narrative to adequately contend with its own themes.
  20. Dheepan
    Jacques Audiard's film struggles to overcome the burden of its over-simplified, moralizing setup.
  21. A Bigger Splash
    What intrigues, if in a lurid sort of way, is the film's fudging of projected viewer desires with its characters'.
  22. Elstree 1976
    It too often fails to examine how the long shadow cast by Star Wars affected its its background actors' lives.
  23. Bite
    Chad Archibald doesn't quite land Bite's transition over from claustrophobic character study into full-blown monster movie.
  24. Sin Alas
    The film's Cuban specificity comes to seem like an opportunistic locale for reenacting a decidedly art-cinematic legacy.
  25. The Offering
    It inspires retrospective gratitude for the empty yet slick craftsmanship of someone like James Wan.
  26. Bridgend
    The film, with its dark-blue-hued cinematography and murky music, is all foreboding atmosphere.
  27. Belladonna of Sadness (1973)
    Eiichi Yamamoto's cult anime strikes a perfect balance between midnight-movie enchantment and arthouse sophistication.
  28. The Idol
    The film's clichés ultimately contain both too little conviction and too little complication, their inspirational messages more imagined than real.
  29. Being Charlie
    Most of the film's characters are unconvincing, flattened out by Charlie's self-focused lens.
  30. Viktoria
    The film is ultimately stultifying because the disconnection between the various characters is so immediately accepted as such a foregone conclusion that nothing ever seems to be at stake, and the heavily horizontal imagery, though accomplished and evocative, if fussy, only evokes two states of mind: loneliness and disconnection.
  31. Ratchet & Clank
    The film crams in jokes long past the point of relevance and often to outright distraction, if not annoyance.
  32. Keanu
    Keanu is declawed by design, but it's hard not to wonder what the cat could've dragged in.
  33. Special Correspondents
    Ricky Gervais's film hopscotches through a variety of premises, looking for jokes that never arrive.
  34. Viva
    The drag in the film rejects the U.S.-centric obsession with "realness" and the acrobatics that come with it.
  35. Pelé: Birth of a Legend
    The beautiful game, as Pelé called football (or soccer to us Americans), has never felt like such a sedate slog.
  36. High-Rise
    The film's notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
  37. Sacrifice
    The film's very design turns out to be a whimpered bark followed by a toothless bite.
  38. The Huntsman: Winter's War
    The overriding despair of Winter's War's imagery calls into question who, exactly, the film is for.
  39. A Hologram for the King
    Remarkably faithful, except in how it rather boldly transforms Dave Eggers's drama into a broad comedy.
  40. Nina
    The film is committed to the sort of broad strokes that reduce a great artist's life to a spectacle of self-pity.
  41. Elvis & Nixon
    The film is taken with comfy gags that celebrate these men's ownership of pop culture, filtering them through a lens of unrevealing caricature.
  42. The Meddler
    Writer-director Lorene Scafaria's film is an unconvincing character study that plays like a painfully unfunny sitcom.
  43. Men & Chicken
    An admirably bizarre and beautiful genre mixtape, but Anders Thomas Jensen's empathy for his characters gradually impedes his imagination.
  44. Hockney
    After a nearly virtuoso opening, it reduces passages of the painter's life into multiple montages of pop pabulum.
  45. Streit's: Matzo and the American Dream
    Michael Levine provides a history without a real sense of individuated struggle or even singular personage.
  46. Sworn Virgin
    Given its nearly episodic structure, formal choices, and similar thematic inquiries, Sworn Virgin suggests an unofficial remake of Vivre Sa Vie.
  47. The Family Fang
    There's real texture and emotional heft to the central relationship between the siblings, but that's thanks more to the actors than the script.
  48. Tale of Tales
    Matteo Garrone returns the fairy tale to its roots in cautionary horror grounded in deep, contradictory, neurotic relationships with gender and patriarchy.
  49. Holidays
    Every short exudes a commercially slick anonymity that effectively flattens any potential excitement.
  50. Barbershop: The Next Cut
    A pop sonata of stand-up comedy routines layered with, if not vitality, then at least honest energy.
  51. The First Monday in May
    Andrew Rossi pays sporadic lip service to recognizing cultural specificity before returning to his star-gazing ways.
  52. The Jungle Book
    Jon Favreau draws heavily on his film's animated predecessor for plot, characterizations, and more, but doesn't know how to fit these familiar elements into his own coherent vision.
  53. Criminal
    Criminal's absence of style, the lack of relish the filmmakers take in the material's inherent ludicrousness, is a failure of conviction.
  54. Our Last Tango
    Throughout the documentary, the question of truth is equated to the essence of the tango.
  55. My Big Night
    Álex de la Iglesia's film is an explosion of kitsch, an intensely formalized mixture of farce and tragedy.
  56. Colonia
    Nothing more than leftwing exploitation cinema, a cheap thriller dressed up in the guise of a social-justice exposé.
  57. Sing Street
    All traces of grit from John Carney's earlier films have been scrubbed away in favor of relentlessly crowd-pleasing slickness.
  58. Green Room
    The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery.
  59. Above and Below
    The documentary lingers on silences and reveals its subjects only through moments of quotidian behavior.
  60. Rio, I Love You
    The hygienization of Rio into what at times looks like a soulless Southern California town is so scandalous it feels like a spoof of the Cities of Love series.
  61. An Eye for Beauty
    Denys Arcand fashions a commandingly leisurely pace that allows us to follow these people who walk a tightrope separating ecstasy from misery.
  62. The Adderall Diaries
    It's too busy skipping through subplots to do much more than gloss over such heady issues as the fundamental subjectivity of truth and self-identity.
  63. The Boss
    The incongruity between Melissa McCarthy's eagerness as a performer and her character's total lack of compassion makes the film somehow both restless and tedious.
  64. Vita Activa: The Spirit of Hannah Arendt
    It reduces its historical moment to a series of vignettes and voiceovers, each evincing a curiously tone-deaf sentimentality.
  65. Louder Than Bombs
    Louder Than Bombs is a parable that takes depression seriously as a condition and a state of being.
  66. Demolition
    It takes its literalism to such an extreme that, at points, it's difficult to determine whether or not the film is operating with a semblance of irony.
  67. 11 Minutes
    Jerzy Skolimowski's formal control over the material is so masterful that the textual particulars are revealed to be beside the point.
  68. The Invitation
    A charged, unnerving turn of the screw, The Invitation is consumed by the fear of forgetting.
  69. The Blue Hour
    An initially intriguing attempt to splice together a gay romance and a horror film that ultimately shows little flair for either genre.
  70. Mr. Right
    It has a bouncy sense of lunacy, wearing its derivative junkiness on its sleeve with surprising lightness of authority.
  71. Hardcore Henry
    The film's unbelievably precise choreography of action seeks to tap into a universal feeling of powerlessness.
  72. Everybody Wants Some!!
    Richard Linklater's film luxuriates in a world that's the platonic ideal of youthful indulgence.
  73. Darling
    The film's aesthetic is striking, but feels almost intangibly derivative, most obviously suggesting an austere cover of Repulsion.
  74. Right Now, Wrong Then
    Spotting and processing the countless differences between the parts offers pleasures on various levels.
  75. Standing Tall
    The film quickly devolves into a contemptible, exploitative presentation of sociological matters.
  76. Kill Your Friends
    Thanks to a strong performance by Nicholas Hoult, all reptilian sinew and heroin-chic vacuity, it keeps threatening to become more dynamic and self-critical than its final result.
  77. Too Late
    All the narrative hopscotching is little more than a superficial ploy to gussy up a clichéd redemption tale.
  78. Notfilm
    Ross Lipman's gloriously egalitarian approach to culture means that his complex argumentation never becomes inaccessible.
  79. I Don't Belong Anywhere: The Cinema of Chantal Akerman
    The documentary is an attempt to capture something of Akerman's infectious spirit and thirst for worldly experience, as both an artist and a human being.
  80. Francofonia
    For all its congratulatory spirit, the film has the persistent feeling of an elegy bidding adieu to a bygone time.
  81. The Dark Horse
    Despite the occasional cliché, this film mostly feels as messy as life, and as movingly complicated.
  82. The Girl in the Photographs
    The film is ultimately devoted to formula, as Nick Simon discards his jumbled meta-media conceit at around the halfway mark.
  83. Batman v Superman: Dawn of Justice
    A sequel that functions as origin story, apologia, and harbinger of a second expanded universe of overpopulated action bonanzas.
  84. My Big Fat Greek Wedding 2
    As far as shameless excuses to rehash crowd-pleasing gags from the first film go, it doesn't particularly go about its duties cynically.
  85. I Saw the Light
    A flaccidly directed film that basks for two hours in a carefully art-designed simulation of the past.
  86. April and the Extraordinary World
    The film provocatively has audiences see the world's current ecological concerns in a different and unexpected light.
  87. Born to be Blue
    Robert Budreau strip-mines the life of an amazing musician for the purpose of mounting yet another comeback story.
  88. Valley of Love
    The film enables us to feel the emotional weight of a posthumous letter precisely because we can only imagine its contents.
  89. Baskin
    The film mostly functions as a tour of familiar horror tropes for much of its running time.
  90. Take Me to the River
    It's difficult to believe in Ryder's gullibility, if not willingness to be caught in his uncle's strange web of provocations.
  91. Under the Shadow
    The film's horror is spookily and movingly expressive of the tenuous position of women in 1980s Iran.
  92. The Program
    The Program is flashier and more self-conscious than many biopics, but it's ultimately just as hollow.
  93. The Confirmation
    The premise is undermined by the film's occasionally dubious ethics and its tendency to soft-pedal the dangerous situations it sets up.
  94. Miracles from Heaven
    Situations and people are sketched out too lightly to leave an emotional trace.
  95. Midnight Special
    It starts off as a dynamic parable about faith before wilting into a glum and rather disingenuous paean to the family.
  96. The Little Prince
    As preachy and repetitive as The Little Prince can be, it offers enough moments of poetry to keep it flirting with greatness, or at least goodness.
  97. Neon Bull
    Everything in the film is understood to be a subsumed sex act, with actual sex serving as a contextualizing catharsis.
  98. The Bronze
    The prevailing attitude behind the film can be boiled down to a simplistic idea: the cruder, the better.
  99. A Space Program
    The film's larger purpose, be it about the ardor of handmade crafts or artist Tom Sachs's artistic ambitions, never emerges with any consistent focus.
  100. Krisha
    It rams home the main character's relentless downward spiral though an incessant parade of grandstanding stylistic flourishes.
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