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 6.3 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 Silent Twins
    Agnieszka Smoczyńska’s film is unwilling to really sit with the peculiarity of its protagonists’ unique psyches.
  2. All Is True
    It’s an unfussy, intimate chamber drama that’s fearless in confronting the attitudes of its exalted subject.
  3. My Afternoons with Margueritte
    Germain's bonhomie with the bistro regulars has the feel of a TV comedy pilot, which is more than can be said of the monologues he speaks to his cat, one on the inadequacies of the dictionary.
  4. Champs
    An unfocused mishmash that thrives only when it fixates on footage of actual bouts.
  5. Amnesia
    Amnesia ultimately delivers rich insights about its main characters’ relationship to their backgrounds.
  6. Crooked House
    Gilles Paquet-Brenner's film is ultimately a genre item that operates on alternately prestigious and campy autopilot.
  7. Humane
    Caitlin Cronenberg vests her images with an eerie, confident power, but that’s more evident in her examinations of the frictions between the characters, and not so much in the tapestry of murder and mayhem that ensues.
  8. Marc by Sofia
    It proves entertaining and enlightening when exploring Jacobs’ contributions to the world of fashion. But more often, it’s just like listening in on an engaging chat between two artist friends who share a fan-like admiration of each other’s craft.
  9. Cloudy with a Chance of Meatballs 2
    This sequel strenuously works to form a total inversion of the first movie's relationship with food.
  10. Godzilla vs. Kong
    Godzilla and Kong’s brawls have the ennui-inducing feel of a child arbitrarily smashing action figures together.
  11. Go for Sisters
    LisaGay Hamilton and Yolonda Ross play persuasively embody modern urban feminine strength, but they're eventually stranded in a recycled road movie.
  12. No Hard Feelings
    What ultimately sinks No Hard Feelings is its inability to convincingly meld its excessively bawdy humor and its Hallmark Channel-level drama of two opposites who help one another to embrace life.
  13. Doctor Sleep
    Like a traumatized psyche, it remains uncomfortably stuck in the past, replaying familiar events in an effort to empty them of terror.
  14. The Boy Downstairs
    Endeavoring to give us a post-mumblecore spin on Annie Hall, writer-director Sophie Brooks seemingly fails to understand what made Woody Allen's film so appealing: its rich, multi-faceted characterizations.
  15. Silver Bullets
    Joe Swanberg's idea of making audiences "happy" is by acknowledging what his supporters and detractors have been saying about him for a number of years, but presenting these things within the same game of elliptical story-unraveling and confession that's governed most of his other films.
  16. J. Edgar
    Black's script, in the wrong hands, could have come under fire for confusing Hoover's twisted mind with his homosexuality or his problems with Mother. Eastwood doesn't seem to give a fuck, and only opts for one overt visual match, depicting as mirror images Hoover's lifeless corpse and the remains of the Lindbergh baby.
  17. Streets of Fire
    Walter Hill’s 1984 film combines everything from seedy bars, street fights, motorcycles, beefy heavies, and tough dames in a smorgasbord of tawdry, moral-flouting clichés that distills decades of imagery that represents youth in cinema.
  18. Mr. Peabody & Sherman
    The film spent roughly a dozen years in development, and the moronic, corporate detritus from that long time warp is strewn about like so many improbable history lessons.
  19. Seeking a Friend for the End of the World
    A predictable, drawn-out romantic comedy that happens to be set in the shadow of impending apocalypse.
  20. Extraordinary Tales
    It offers a CliffsNotes encapsulation of Edgar Allen Poe's most enduring works for viewers unacquainted with them.
    • 59 Metascore
    • 63 Critic Score
    Follow That Bird
    While kids will and have enjoyed the film as a sweet-and-occasionally-exciting road trip with all their favorite Sesame Street friends, parents are presented with far deeper themes to consider.
  22. Sing
    In Sing, musical theater is simply an excuse for the filmmakers to deliver an animated version of American Idol.
  23. Lizzie
    The film moves evenly toward a conclusion that feels as inevitable as it does inescapable, while providing a plausible framework for the still-mysterious true crime.
  24. The Playroom
    Lacking much in the way of character depth, the film attempts to fill the gap with melodrama.
  25. Springsteen: Deliver Me from Nowhere
    There are plenty of real-life anecdotes that Scott Cooper draws from Warren Zane’s 2023 book Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska, but they’re filtered through the hoariest of biopic clichés.
  26. Fight or Flight
    Dramatic moments create tonal stutters that prevent the film from becoming the unhinged Looney Tune that it wants to be.
  27. The Lovebirds
    Once the film shifts into a broader comedic register, it no longer capitalizes on Kumail Nanjiani and Issa Rae’s gift for gab.
  28. On the Basis of Sex
    On the Basis of Sex is too often busy revering Ruth Bader Ginsburg for her confidence and brilliance to bother with presenting her as a living, breathing human being.
  29. Run All Night
    This time around, in spotlighting Liam Neeson's fatigued charisma, Jaume Collet-Serra's formidable filmmaking chops have plateaued.
  30. The Front Line
    Both brutal and sentimental, this Oscar-submitted Korean war drama offers up rusty tropes as telling ironies.
    • 59 Metascore
    • 50 Critic Score
    Dangerous Liaisons (2012)
    Despite the abundant surface pleasures the vision of its milieu provides, its lack of insight or engagement makes this adaptation feel, ultimately, like a missed opportunity.
  32. Dead Snow 2: Red vs. Dead
    By formally acknowledging the material's inherent silliness ad nauseam, the filmmakers have distanced themselves from the spirit of the parody, robbing it of its gruesome pleasures.
  33. Bridget Jones's Baby
    The Pinkberry solipsism of this particular franchise all but requires our heroine persist as a lovelorn martyr for her audience’s benefit.
  34. Suntan
    Argyris Papadimitropoulos struggles to lift his material out of a downbeat mode of cringe comedy.
  35. 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.
  36. The Final Girls
    It lobs a grenade at slasher-movie sadism by making us care about the characters as more than just body-bag fodder.
  37. 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.
  38. Absolutely Fabulous: The Movie
    There's something to be said for a summer movie that offers up Chris Colfer as an unapologetic misogynist hairdresser.
  39. The Dead Lands
    A phony collection of storytelling clichés held under the banner of archetype and lent a modicum of weight by the splendor of the landscape.
  40. Pearl Jam Twenty
    Wholly uninterested in puffing up his subjects into an iconic rock outfit on a par with their idols Led Zeppelin and the Who, Crowe instead merely tells their story free from the constraints of rise-fall-rise clichés.
  41. Savages
    While his classic hyperbolic visual style is back in force, Stone can't bother to muster any of his usual righteous anger, instead mischanneling his discontent into a kind of zen acceptance of these perpetually tiresome main characters.
  42. Salvo
    The filmmakers' very particular sense of lighting and framing, though handsome, often exudes a formality that perpetually stifles the story's sense of spontaneity.
  43. Abigail Harm
    Lee Isaac Chung's film exudes a wonderful sense of originality, a daring and organic playfulness rarely found in American indie cinema.
  44. Together
    Together’s dramaturgy perfectly, if unintentionally, underscores the suffocating nature of pandemic living.
  45. Lux Æterna
    If the film-within-the-film is a vapid fetishization of women’s martyrdom, Lux Æterna is a willful exercise in repulsing its own audience.
  46. The Lie
    It's hard to say which is worse: the unfunny caricatures or the indulgent soul-searching.
  47. A Star Is Born
    The film is equal parts I Will Survive and pop martyrdom, instigated by a star so enormous that she could likely bankroll the Department of Defense for the year of 1976 and still have money left over.
  48. Mission: Impossible
    Unlike most action films, Mission: Impossible's distinct appeal operates not so much on suspense but on improbability.
  49. Jakob's Wife
    Travis Stevens’s film is psychologically astute, until it gives itself over to turning subtext into extremely legible text.
  50. Dating Amber
    Dating Amber rather seamlessly strips itself of its hyperbolic affectations to reveal a heartbreaking story of emancipation through friendship.
  51. The Drama
    Kristoffer Borgli delights in creating a hypothetical trap for his lovers, but he also acknowledges that there’s something romantic about being stuck in it together.
  52. Dawn of the Dead
    This new Dawn of the Dead doesn't stop to take a breath, and remains frequently scary and engaging in the moment without leaving much to chew on afterward.
    • 59 Metascore
    • 75 Critic Score
    Surviving Progress
    By turning the idea of progress on its head, the nimble Surviving Progress exquisitely presents to us the possibility that humankind's achievements may cause its downfall.
  54. Black Mama White Mama
    Black Mama, White Mama became a key reference point for postmodern mash-up artists like Quentin Tarantino and Neveldine/Taylor, but the film’s socio-political jungle is not all fun-and-grindhouse games.
  55. My Darling Supermarket
    If the world outside the Supermercado Veran is rife with poverty and crime, we wouldn’t know it from inside this little cocoon.
    • 59 Metascore
    • 38 Critic Score
    Hava Nagila: The Movie
    The documentary can at times feel like you're wasting your time on a subject you might wish you had only accidentally crossed paths with briefly on Wikipedia.
  57. The Forgiven
    Whatever satire of white elite society is intended by The Forgiven has been blunted by monotony.
  58. Nobody 2
    Behind the violence and gore, Nobody 2 only offers the skeleton of a narrative.
  59. Running from Crazy
    The modern-day sections with Mariel Hemingway, while detailing the redemptive promise of the title, too often come across as either indulgent time-filler or overflow with PSA-level superficiality.
  60. Jurassic World
    Jurassic World can't tell whether it wants to be junk food or not, lovingly poking fun at some Hollywood tropes while shamelessly indulging others.
  61. On the Ice
    The moral dilemmas in On the Ice ultimately fail to resonate, Qalli's concluding plea for his flawed humanity coming off as strangely hollow.
  62. The Dead
    The Dead ultimately doesn't have much of a pulse, as it fails to transcend the banality of its inevitable theme.
  63. Strike a Pose
    The filmmakers and performers show great maturity in refusing to settle scores or spill secrets.
  64. Valley of Love
    The film enables us to feel the emotional weight of a posthumous letter precisely because we can only imagine its contents.
  65. Our Mothers
    Around his main character, writer-director César Díaz builds a complex but unpretentious interrogation of national belonging.
    • 59 Metascore
    • 63 Critic Score
    Detroit Unleaded
    It compellingly engages with the specific problems of a cultural group rarely represented in American film, but it too easily and abruptly resolves its main characters' problems.
  67. In Darkness
    Anthony Bryne's high-flown style only serves to highlight the film's icky way of exploiting real-world tragedy for kicks.
    • 59 Metascore
    • 75 Critic Score
    There's Still Tomorrow
    It’s a film about domestic violence that, while clearly intended as an homage to Italian neorealism, finds levity through choreographed musical numbers and moments of light magical realism.
  69. The Whistleblower
    It reaches a peak of dramatic anguish in star Rachel Weisz's single moment of naked fury, rather than through the tenacity and compassion that define her crusading title character.
  70. Miss You Already
    It winningly reflects how to utilize quiet understandings and, yes, very loud laughter.
  71. 99%: The Occupy Wall Street Collaborative Film
    If you grant the documentary its slanted perspective at the outset, it works well as its own state-of-the-union address.
  72. Those Who Wish Me Dead
    The film half-heartedly teeters between a kinetic action thriller and something a little more low-key.
  73. Bad Boys for Life
    The film may leave you wondering what purpose this franchise serves if not to give expression to Michael Bay's nationalist, racist, and misogynistic instincts.
  74. Learning to Drive
    Instead of using the titular metaphor as a means to seek deeper, darker ends, Isabel Coixet proceeds to restate it over and over again.
  75. Ballerina
    Sans a mythology of its own, or any substantive ties into where the John Wick films go chronologically after this, Ballerina is just another 87Eleven joint.
  76. Siberia
    Abel Ferrara doesn’t require traditional dream logic, as his grasp of the nitty-gritty quotidian of longing is inherently uncanny.
  77. If You Build It
    It isn't until the rushed conclusion when director Patrick Creadon shows the possibilities of what the documentary could have been.
  78. 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.
    • 59 Metascore
    • 75 Critic Score
    Night of the Comet
    While it would be unduly dismissive to write off Night of the Comet as a cult film merely by association, a good bit of its ancillary charm is obviously owing to its resonant casting choices: Reuniting Beltran and Woronov in the wake of Paul Bartel’s blistering black comedy Eating Raoul adds extra spice to the one longish scene they share.
    • 59 Metascore
    • 63 Critic Score
    It's a Mad, Mad, Mad, Mad World
    For a three-hour, epoch-ending epic made by a comedy neophyte, it yields a treasure of showbiz lore.
  81. Clash of the Titans
    These fantastical He-Man epics were common in the early ’80s (Legend, Conan the Barbarian, and The Beastmaster were all variations of the same theme), and while Clash of the Titans remains one of the genre’s homelier entries, there’s no faulting a film this lovingly and aptly arcane.
  82. Mother, Couch
    Other than a sort of wistful quirkiness, it’s not clear what Mother, Couch gains by skewing away from a more straightforward, streamlined family drama.
  83. The Little Mermaid
    This Little Mermaid feels more or less like two-hour-plus cosplay with the texture and gravitas of a Disneyland sideshow.
  84. Magic Trip
    At its best, Magic Trip evokes the freewheeling, idealistic, psychedelic vibe of an era's origins; at worst, it's a film in which people narrate their own druggie home movies.
  85. Carmen
    By stripping the story back to its most elemental form, Benjamin Millepied makes it feel mythic, poetic, and captivatingly romantic.
  86. What If
    Right up to its simplistic ending, the film is pleased to regurgitate the contrived tropes of the genre without ever honestly addressing the ethics of romantic boundaries.
    • 59 Metascore
    • 88 Critic Score
    Unfriended
    When the genre-film spectacle arrives, it's in full force, and the strictures of the framing device manage to amplify, rather than suppress, the impact of the shocks and scares.
  88. The Magician
    The Magician might have worked better if it could have sustained for its first several sequences a sense of genre confusion.
  89. Wet Woman in the Wind
    Akihiko Shiota's sketch-like scenes have an eccentric and volatile intensity, as the filmmaker stages subtly theoretical moments that still allow for spontaneity.
  90. This Is 40
    It certainly suffers from the staleness of its off-the-cuff, improv-inspired mode of comedy, which prizes free-form riffing over organically constructed comedic scenarios.
  91. Cruella
    The film’s outward liveliness can’t mask the inner inertia it has as just another lifeless product assembled in a factory.
  92. Primate
    If only the filmmakers had put the same care and thought into their human characters, then Primate might have been worth going apeshit over.
  93. Salmon Fishing in the Yemen
    The ill use made of the stars' charms in this initially strained, then egregiously dopey mushfest can likely be credited to market-tested notions of modern popular romance.
  94. The Look
    Rampling is very much aware of the camera's every intention and possibility. Perhaps too aware, like the kind of over-educated narcissist for whom real spontaneity is too costly a risk.
    • 58 Metascore
    • 50 Critic Score
    New World
    This is action-thriller feather preening, but all the wit in the world can't hide the narrative sprawl that rots from within.
  96. Deepsea Challenge 3D
    Less explored in all the ensuing back-patting is the question of whether Cameron is, in fact, sincerely interested in learning more about the world around him or whether this mission is merely intended to stroke his own ego.
  97. The Roses
    The War of the Roses, both the book and the Danny DeVito film, is an infamously brutal comedy of terrors, and The Roses is cuddly by comparison.
  98. Viva
    Viva‘s intentionally flat performances and flatter double entendres...mercilessly satirize the Playboy mindset even as the film revels in the kitschiness of it all.
  99. Follow Me: The Yoni Netanyahu Story
    The documentary is briskly paced, often compelling, but a little soft, as it succumbs to hero worship.
  100. Mama Weed
    Mama Weed is intended to wash over you, leaving good vibes in its wake, but it doesn’t challenge Isabelle Huppert or the audience.
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