Slant Magazine's Scores

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For 7,775 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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  1. Mothers' Instinct
    Benoît Delhomme’s 1960s-set directorial debut can’t decide whether it wants to be considered camp or not, awkwardly pitching itself between a somber drama and antic melodrama.
  2. Ghostbusters: Frozen Empire
    There are protracted moments of humor, fright, and pathos in Frozen Empire, but as it’s all so scattershot and disconnected, the film ends up being defined by its lack of conviction when it comes to exploring its ideas to the fullest.
  3. IF
    The most charitable read on John Krasinski’s IF is that using your imagination shouldn’t be bound by traditional story structure, so why should a film about unfettered imagination need the same?
  4. I Saw the TV Glow
    The film is a mesmeric but frequently muddled exploration of transgender self-actualization.
  5. Bird
    As evocative as it is, the film’s use of small-town squalor as a blank canvas for artful indulgences often detracts from its purported authenticity.
  6. Blitz
    Blitz is an earnest, broad-strokes portrait of a bustling city that occasionally succeeds in communicating the unprecedented sensory shock of modern warfare, but its uncritical craftsmanship and quarantining of past atrocities from present-day concerns also render the proceedings mostly lifeless.
  7. Havoc
    If the rest of it had been as driven by such a ferocious sense of purpose as its final act, Havoc would be one of the finest action movies of the decade so far.
  8. Maria
    Between Jackie, Spencer, and, now, Maria, Pablo Larraín has thrice committed the cardinal sin of taking a female icon of the 20th century and, in an attempt to hold a mirror up to her multitudes, flattened her into the equivalent of a kitschy postage stamp.
  9. Blink Twice
    Blink Twice clearly has thoughts about the danger that men can pose and the way women are forced to perform happiness while in the company of such predators, but it never provides more than a surface-level understanding of such dynamics.
  10. Queer
    In the end, Luca Guadagnino effectively turns a very complicated literary figure into the kind of blubbering, nostalgic old man you’d expect to see in a student film or a Sundance prizewinner.
  11. Handling the Undead
    For how committed it is to convincing the audience of the profundity of a rudimentary point, the film’s measured pacing comes to feel like a kind of torture.
  12. Nightbitch
    It’s disappointing to see a film with such a weird premise as Nightbitch ease into an orthodox storytelling mode.
  13. Presence
    The unoriginality of Presence’s story eventually calls out the POV conceit as a one-note gimmick, especially when the tension is dialed up in the film’s second half.
  14. Suncoast
    Suncoast spends much of its runtime trafficking in tiresome coming-of-age tropes, until the resulting crowd-pleaser has snuffed out much of what’s so singular about its central story.
  15. Seeking Mavis Beacon
    The film proves itself incapable of or unwilling to follow through on its ideas to an ultimate conclusion.
  16. War Game
    By setting up such a potentially cataclysmic scenario and not convincingly illustrating how it could be resolved or stopped from occurring in the first place, War Game undercuts the very reason it was made.
  17. The Ministry of Ungentlemanly Warfare
    To Ritchie’s credit, he keeps his film moving along at a consistently brisk clip, but that breeziness is also the cause of its weightlessness, rendering its vision of historical events as outright cartoonish, down to the often clownish portrayals of Nazis and the flawless execution of nearly every element of March-Phillips’s plans.
  18. Shirley
    In the end, this sub-Sorkin-esque political potboiler sidelines Chisholm's most meaningful community work to the fact that she tried and failed to run for president.
  19. Cuckoo
    One may wish that the absurdity of the conceit had been matched by a bit more irreverence in the script and audacity in the imagery.
  20. Moana 2
    For a story that so prizes how far its heroine will go, Moana spends so much of this sequel stuck in a rut.
  21. Atlas
    Atlas seems like a story that should have been experienced with a gamepad in hand.
    • tbd Metascore
    • 50 Critic Score
    Arcadia
    Yorgos Zois’s film banks on juxtaposition alone without quite delving into more fertile terrain.
  23. Pepe
    As an anguished cry against colonialism, Pepe works best when illustrating the micro ways in which culture is erased by capital interests.
  24. The Watchers
    Pacing is a conspicuous problem and the rushed third act threatens to crumble as The Watchers becomes overloaded with revelations and mythology that strain a foundation barely braced to hold their weight.
  25. Red One
    It’s neither naughty or nice, and in Santa’s book, that likely means it just ends up getting nothing this Christmas.
  26. Y2K
    The big sequence where the year 2000 hits and everything from a toaster to a Tamagotchi goes homicidal is a chaotic blast, but once the film shifts into a broader comic gear, it never quite finds its heart again.
  27. One Battle After Another
    Paul Thomas Anderson’s dark comedy One Battle After Another turns overreaching into an art form.
  28. Omni Loop
    The film retreads ideas familiar from time-loop stories without offering anything especially new.
  29. 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.
  30. Fly Me to the Moon
    Fly Me to the Moon’s sudden shift toward the weighty throws off the pace of what had been a formulaic but charming rom-com, as the heavy-handed look at both Cole’s and Kelly’s past demons fails to mesh cohesively with the antic silliness that preceded it.
  31. Trap
    M. Night Shyamalan’s stylish thriller is schizophrenic in more ways than one.
    • 52 Metascore
    • 50 Critic Score
    Parthenope
    The film’s succession of symbolically loaded vignettes is less meaningful than intended.
    • 44 Metascore
    • 50 Critic Score
    Treasure
    Because the casually observational moments of Julia von Heinz’s film are so rich, its thematic contrivance becomes harder to accept.
    • 60 Metascore
    • 50 Critic Score
    Den of Thieves 2: Pantera
    Pantera feels far more anonymous, sleeker and less outlandish, than its predecessor.
  35. Armand
    By the time we’re watching whole conversations be drowned out by noise of pounding rain, the abstract tendencies of Armand begin to feel like an act of unintentional self-sabotage
  36. Wolfs
    The witty repartee between Clooney and Pitt feels like the only thing holding the film together.
  37. The Damned
    Had we been allowed to truly sit with the characters’ prejudices, then The Damned might have earned the desperation with which it strains for contemporary resonance.
  38. The Front Room
    If there’s any food for thought in The Front Room, it’s the ongoing portrayal of old folks in the A24 catalog.
  39. We Live in Time
    John Crowley’s film blunts the force of the naturalistic performances by Florence Pugh and Andrew Garfield as it shifts around the timeline of the story with little rhyme, reason, or rhythm.
  40. Hell Hole
    The most consistent recurring theme across the work of the Adams family—parenthood as a siphoning off of the life giver’s vitality in a protracted, eternal cycle of decay and renewal—finds its most literal, alien expression here.
  41. Meanwhile on Earth
    The overbearing plot of the film sadly obscures the humanity of its characters.
  42. Shelby Oaks
    Chris Stuckmann’s utilitarian approach is doubly frustrating considering that Shelby Oaks does, at least in the early going, point toward potentially having something to say about the vlogger space, internet infamy, and the way tragedy takes on a cultural virality.
  43. Power Ballad
    Like the fraught relationship between its two musician characters, the film never finds the right groove.
  44. Coup!
    The film has little to add on the subject of the interplay of politics and infectious disease, then or now.
  45. Eden
    As the plot progresses, the film appears increasingly adrift, discordantly sliding between farce, satire, and murder mystery.
  46. Black Bag
    By the time the film comes to the end of its brisk runtime, it feels like nothing much has actually happened, despite all the narrative convolutions.
  47. Let Sleeping Corpses Lie
    Despite some satisfyingly gut-busting moments, The Living Dead at Manchester Morgue retains a very British stiff upper lip.
  48. Transamazonia
    Plunging headlong into the murk of exploitative missionary work and environmentally destructive capitalism, Transamazonia is a film with undeniable import and sociopolitical urgency, which its muddled narrative can’t completely dampen.
  49. Hamnet
    Though Hamnet is concerned with bottomless grief and the unique power of art to express the inexpressible, it can’t help but telegraph its themes loudly and incessantly, its emotional register off-puttingly monotonous.
  50. The Friend
    Hardly a false note is sounded throughout The Friend, but it operates within such a limited emotional range that it drifts into monotonic plainsong.
    • 85 Metascore
    • 50 Critic Score
    I'm Still Here
    The film has trouble excavating any coarse humanism from this decidedly human story, opting instead to paint the family at its center in broad, uninspired strokes.
  52. On Swift Horses
    It’s difficult to shake that there’s something tragic blaring from the sidelines that the film’s wistful, pitch-perfect Hollywood ending can’t acknowledge.
  53. The Return
    The Return may render its mythological figures lifelike through flesh and blood, but nowhere inside that viscera lies a beating heart.
    • 49 Metascore
    • 50 Critic Score
    Daniela Forever
    Metaphysical implications about the nature of reality or the possibility of shared consciousness are left mostly unspoken, as the film spends more time developing a surface-level study of the desire for romantic possession and control.
  55. Happyend
    Sora Neo struggles to balance the immediacy of adolescent angst with the long-range outlook of using the students’ experience as a canary in the coal mine for society at large.
  56. Plastic
    Even a banal life can have a musicality and life to it, but once it leaves high school, Plastic’s portrait of adult life comes off as a monotone drone.
  57. Song Sung Blue
    Song Sung Blue is content to pendulum-swing from triumph to tragedy and back again with all the self-control of a drunk driver.
    • 51 Metascore
    • 50 Critic Score
    What Just Happened
    Generally, the film is a compelling portrait of Hollywood egoism, though it suffers from this very egoism itself. It’s hard to tell where the film is representing reality, and where it is representing a caricature of reality.
  59. How to Train Your Dragon
    As heartwarming as this story remains at its core, it’s hard to shake that you already know how it will play out.
  60. The Gorge
    For a solid hour or so, the film is patient and tense, with just the right touches of levity and romance. Until, suddenly, it isn’t.
  61. Wuthering Heights
    Like a particularly impressive aspic, Wuthering Heights is tantalizing to behold but not so easy to swallow.
  62. 28 Years Later: The Bone Temple
    The Bone Temple doesn’t pack the moment-to-moment kineticism of the prior films.
  63. Grafted
    Grafted’s biggest problem is that it loses all momentum once the face-swapping kicks into motion, meandering along with no real sense of rising danger or ensuing consequence as the baton is passed from one victim to the next.
  64. Night Call
    Michiel Blanchart’s film often feels like a patchwork of half-developed ideas, each more loosely and tenuously woven into the whole than the last.
  65. Fight or Flight
    Dramatic moments create tonal stutters that prevent the film from becoming the unhinged Looney Tune that it wants to be.
  66. The Accountant 2
    As The Accountant 2 drags out to over two hours, and its two storylines remain tonally at war with one another, it becomes increasingly clear that, two films in, this series still hasn’t figured out exactly what it wants to be.
  67. Kiss of the Spider Woman
    For a musical so dedicated to celebrating and critiquing the transformative potential of cinematic fantasy, Bill Condon’s Kiss of the Spider Woman brings relatively little of the kind of overwhelming star power that can truly transport audiences.
  68. Oh, Hi!
    After its opening act, the film gets silly fast, with a frankly stupid witchcraft subplot and narrative turns that are telegraphed with audience-insulting obviousness.
    • 65 Metascore
    • 50 Critic Score
    The Picture of Dorian Gray
    Picture of Dorian Gray isn’t awful, though it’s certainly an instance in which an outright debacle would have made a much more interesting film.
  70. The Rule of Jenny Pen
    The film single-mindedly sees its elderly characters as objects of disgust or receptacles for harm.
  71. Neptune's Daughter
    As if trying to put quotation marks around its disposability, 1949’s Neptune’s Daughter uses a perpetually underwhelmed narrator to undercut its central love story, surrounded by polo antics and swimwear fashionistas.
  72. After the Hunt
    While its desire to question absolutes is admirable, there’s a hollowness at the film’s core that prevents it from having a more pointed impact beyond surface provocation.
  73. Nobody 2
    Behind the violence and gore, Nobody 2 only offers the skeleton of a narrative.
  74. Good Boy
    A horror tale told from the perspective of a dog, Ben Leonberg’s Good Boy is the sort of film that was always destined to live and die by the strength of its central gimmick.
  75. We Bury the Dead
    There’s a thoughtful zombie tale with its own distinctive personality lurking somewhere within We Bury the Dead, but it’s overridden by the film’s more generic elements, and that identity ultimately gets lost among the horde.
  76. Materialists
    As its second half begins to focus more on Lucy’s dating dilemma, and how she’s forced to confront her firmly established beliefs and rules about dating, the film hews increasingly close to the narrative expectations of the traditional rom-com.
  77. The Running Man
    In flinching at the end, The Running Man ultimately becomes akin to the very thing it criticizes: a hollow, mollifying image of empowerment that distracts from the logical conclusions of its nihilistic premise.
    • 57 Metascore
    • 50 Critic Score
    Tornado
    Tornado’s winking theatricality, thematic fixations with myth and avarice, and pared-down plotting add up to a heady concoction, but it’s more conducive to reflection than engagement.
  79. 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.
  80. The Smashing Machine
    Despite the retro vérité aesthetic that Benny Safdie employs to give Mark Kerr’s story a stylish new coat of paint, all that his version ultimately does is whip up a feeling of déjà vu.
  81. Roofman
    The real Jeffrey Manchester may in fact have been polite, but Derek Cianfrance’s film doesn’t convince you that it needed to be as well.
  82. Him
    The film leaves you wishing that the aspirational way the sport is presented in real life had been read for filth.
    • 74 Metascore
    • 50 Critic Score
    Highest 2 Lowest
    The more the film diverges from Kurosawa’s, the more confident and distinguished it becomes.
  84. Honey Don't!
    The film is paced in such a languid, dreamy way that it’s hard to get a grasp on how each scene connects to the larger themes or the larger mystery until fairly late.
    • 53 Metascore
    • 50 Critic Score
    Anemone
    Anemone is unable to tell a family story that lives up to its visual splendor and enigmatic atmosphere.
  86. 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.
  87. Alpha
    The possibility of relating to the characters is constantly hindered by the struggle to make sense of the story’s messily sketched dystopia.
  88. Fixed
    The balls-out shock value doesn’t detract from the fact that Fixed is more square than its makers probably think it is.
  89. She Rides Shotgun
    Nick Rowland’s film doesn’t seem to have faith in the story the novel tells.
  90. The Lost Bus
    Paul Greengrass employs a peripatetic restlessness to the material, and while that brings an often thrilling sense of verisimilitude to the film, the cliché-stuffed screenplay too often plays against the intended solemnity of the project.
  91. Witchboard
    Some of the period action set pieces are spirited in their staging, while the film doesn’t lack for gruesome and elaborate kill sequences, which is almost enough to distract from the screenplay’s patchiness and insipid characterizations.
  92. Little, Big, and Far
    The film adopts a diaristic, epistolary form that flattens its emotional topography.
  93. Scarlet
    On paper, anime master Hosoda Mamoru’s Scarlet sounds positively electrifying.
  94. Hoppers
    It falls well short of providing any satisfying exploration of its weighty theme of persuasion versus violence in the face of oppression.
    • 62 Metascore
    • 50 Critic Score
    Köln 75
    Unfortunately, for a film mainly about an assertive young woman making her way in a culture ruled by men, Köln 75 becomes far more compelling after Jarrett finally makes his entrance.
  96. Ballad of a Small Player
    The film’s ambivalent perspective on the greed and glitz of its protagonist’s world makes it difficult to invest much care in what happens to him.
  97. Anaconda
    Regrettably, the one star of Anaconda that gets the shortest shrift is the most important one: the snake.
  98. Eternity
    The film is very old-fashioned in its thinking and approach to fantastical romance, despite some occasional, vague allusions to the fact that it is, still, a 2025 film.
  99. Ella McCay
    The optimism that Ella preserves as she takes life one day at a time is compelling enough that it’s hard to get too mad about how shallow the world around her can seem.
  100. Late Shift
    For all its empathy, Late Shift upholds the dubious virtue of self-sacrifice that underpins the Protestant work ethic.
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