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 Holdovers
    The Holdovers is ultimately a story about the absence of family, and as it watches three individuals come together and apart, it’s subtly attuned to the way that class constricts people’s lives.
  2. Evil Does Not Exist
    Hamaguchi Ryûsuke’s Evil Does Not Exist is a turn away from the filmmaker’s empathy of his earlier work toward an aesthetic that’s jagged and chilly.
  3. Youth (Spring)
    Twenty years on from Tie Xi Qu: West of the Tracks, we return with Wang Bing to the factory floor, but this time he doesn’t muster the formal strategies or the narratological scope that once allowed him (and us) to imagine broader implications for China’s future.
    • 85 Metascore
    • 88 Critic Score
    Close Your Eyes
    Where once Victor Erice's films defined the unknown as a life not yet experienced, Close Your Eyes interprets it as a life already lived, slowly dissolving into memory.
  5. AGGRO DR1FT
    It may indeed be the perfect cinematic representation of our current media landscape, adapting to our collective brain rot from being terminally online instead of fighting against it.
  6. Dream Scenario
    Kristoffer Borgli’s film presents a perfectly absurdist setup that allows Nicolas Cage to flex his singular acting muscles in increasingly hilarious directions.
  7. The Beast
    Bertrand Bonello uncannily utilizes burdensome signs and wonders for maximum insight and agitation.
  8. Cassandro
    Like any good fighter film, Cassandro builds to the sort of incredible final bout that makes your hairs stand up and the rest of your body want to.
  9. Anatomy of a Fall
    At its best, Anatomy of a Fall is nothing less than a rigorous modern treatise on the knotty interpersonal dynamics of long-term relationships and how conveniently they can be distorted when exposed to public scrutiny.
  10. Remembering Every Night
    The film is a gentle evocation of contemporary Japanese life in its pleasures and frustrations.
  11. Robe of Gems
    A Bolañesque waking nightmare, the film insists that we come to terms with it rather than straightforwardly enjoy it.
  12. A Haunting in Venice
    In the end, any attempts that A Haunting in Venice makes at connecting post-war trauma to Halloween and the ability to commune with the dead are non-committal, and the script doesn’t do enough to communicate why any of that matters.
  13. Dumb Money
    The film’s status as a corporate entertainment product (among the film’s producers is the Winklevoss twins) also presents an internal discord in and of itself, particularly with the script incessantly preaching financial equality for all.
  14. Kidnapped: The Abduction of Edgardo Mortara
    The story is kept at a stress-inducing simmer, with occasional surges of operatic emotion.
  15. Last Summer
    The film somehow feels tight, open and leisurely, and cloaked in dread all at once.
  16. Perfect Days
    The film’s details collectively grow absurd and pompous.
  17. La Chimera
    In this rueful film about all things unseen, the importance of time is seemingly felt by everyone.
  18. The Feeling That the Time for Doing Something Has Passed
    The film embodies the alienating angst of millennial life in all its nakedly neurotic glory.
  19. Here
    Bas Devos’s trademark placidity and restraint constitutes a challenge to narrative convention.
  20. About Dry Grasses
    Above all, the film captures how easy it is to deposit too much hope on the few who represent dissent, or freedom, when one is trapped.
  21. Inside the Yellow Cocoon Shell
    The protagonist may feel cut off from the world, but the film is deeply in harmony with it.
  22. My Big Fat Greek Wedding 3
    For devotees of the franchise, Nia Vardalos's film will be a surprisingly emotional trip home.
  23. Rotting in the Sun
    At once an excoriating satire of the performativity of homosexuality within a social media-addled community as well as a seemingly earnest lament for the total loss of collectivity, the film minces neither words nor bodily appendages.
  24. The Equalizer 3
    The overarching plot of the film is pretty boilerplate, but the fine details count for a lot.
  25. El Conde
    The film never really leans into the farcical possibilities of its premise nor its earnest appraisal of Augusto Pinochet’s legacy.
  26. Ernest and Celestine: A Trip to Gibberitia
    A unique joie de vivre courses through A Trip to Gibberitia’s every meticulously composed frame.
  27. Perpetrator
    Perpetrator cycles through characters and settings at a considerable clip, never stopping long enough to flesh them out beyond an outline.
  28. The Mountain
    Thomas Salvador frustratingly never offers a concrete sense of what his character feels that he’s lost, and so we’re tasked with loading meaning onto the character’s journey of apparent self-reclamation.
  29. Bottoms
    The film’s unique blend of deadpan and absurdist humor, and its tendency to occasionally push the boundaries of good taste, shows that Emma Seligman is comfortable working on both ends of the comic spectrum.
  30. Retribution
    Without a compelling reason for us to care about the people inside the car, a reasonably diverting journey never accelerates into an outright thrill-ride.
  31. Gran Turismo
    What the film lacks in connective tissue, it makes up for in sheer vibes.
  32. Scrapper
    Charlotte Regan’s film is a baffling clash of two incompatible visions.
  33. Fremont
    The film has the ethereal feel of a half-remembered, mostly pleasant dream.
  34. Minamata Mandala
    The film understands how atrocity is perpetuated, fanning a maddening sense of injustice.
  35. Madeleine Collins
    Seemingly channeling the spirit of Claude Chabrol, Antoine Barraud’s Madeleine Collins is a decidedly classy throwback thriller about a seemingly humdrum character committing perverse acts of subterfuge against others.
  36. It Lives Inside
    The film views its main character’s culture, as well as her struggles to suppress her identity in order to fit into her suburban world, with a nonchalance that often scans as negligence.
  37. Mutt
    That Feña suffers so that other trans people won’t have to may be edifying to some, but it also reduces Mutt to an Afterschool Special.
  38. Heart of Stone
    The cinematography looks striking enough throughout the various set pieces, but little happens in them to elevate Heart of Stone past its hackneyed foundation.
  39. The Last Voyage of the Demeter
    The film suggests a gene splice of a slasher flick and supernatural horror. But as enticing as that combination may sound, André Øvredal’s rendering of it is as bland and listless as the blues and grays that dominate the film’s color palette.
  40. Medusa Deluxe
    Few, if any, single-shot movies ever justify the conceit. In fact, most of them do their material a disservice through the distraction that emerges naturally from the trickery.
  41. The Eternal Memory
    Maite Alberdi’s film slowly reveals the personal loss of the ability to remember as inextricably linked to the loss of national memory.
  42. Between Two Worlds
    Even when the film becomes something like a spy thriller, it never loses sight of its political themes.
  43. Love Life
    Because we’re tasked with inferring so much about the characters, especially their pasts, so much of the film’s romance is unconvincing.
  44. Meg 2: The Trench
    If your hook is the promise of seeing Jason Statham go mano a mano with prehistoric sea behemoths, then leaning into the ludicrous is the only way to go.
  45. Mob Land
    John Travolta’s scenes are islands of tranquility in a jittery sea of rote crime-movie pyrotechnics.
  46. Teenage Mutant Ninja Turtles: Mutant Mayhem
    Teenage Mutant Ninja Turtles: Mutant Mayhem is a film that feels ripped right out of a high school art-class notebook, and sounds like a Twitch stream.
  47. Corner Office
    The film goes to show that humanism and absurdism are often two expressions of the same face.
  48. Dreamin' Wild
    The elegantly underplayed performances ensure that the film never succumbs to melodrama.
  49. Haunted Mansion
    The film handily invokes the campiness of the iconic Disneyland attraction, if not its kinetics.
  50. Our Body
    Our Body offers, in its unwavering commitment to staring at the fragility of life in the eye, a solace devoid of romanticism or spiritual self-delusion.
    • 91 Metascore
    • 100 Critic Score
    Lady Killer (Gueule d’Amour)
    Exquisite and disturbing, Gueule d’Amour is still one of the screen’s least seen masterpieces.
  52. War Pony
    The filmmakers never effectively detail the characters’ relation to the various cultural, psychological, or historical intricacies of their milieu.
  53. Sympathy for the Devil
    With copious scenes of Nicolas Cage going buck wild, it can hardly be faulted for failing to give audiences what they want.
  54. Kokomo City
    The film’s most significant accomplishment is the mood it crafts with its cool black-and-white images, fast-paced editing, unorthodox camera angles, handheld camera, and overall jazzy atmosphere.
  55. The First Slam Dunk
    The First Slam Dunk is able to throw a relentless series of new gambits, twists, and reversals at the screen that will keep even seasoned sports film fans on the edge of their seat.
  56. The Beasts
    The film is as much about the beastliness of outmoded machismo as it is about the perseverance and fortitude of women in opposition to it.
  57. Return to Dust
    The film is best in moments when the bond between two outcasts is made corporeal and fully present.
  58. Cobweb
    As tantalizing as the film’s ambiguity can be in certain moments, there comes a point where it starts to feel at once half-baked and a transparent means of delaying the inevitable.
  59. Oppenheimer
    For better and worse, Nolan has often turned to practical and scientific means to demystify his films’ subjects, be it dreams, magic, or the impossible antics of one particularly traumatized billionaire orphan. His best work (The Prestige, Interstellar) ultimately resists the comedown that can accompany such explication as the material retains some fundamental sense of wonder.
  60. Barbie
    The film is at once a journey of self-actualization and a testament to female solidarity.
  61. They Cloned Tyrone
    The satire here isn’t quite as on point as that of its predecessors, but it helps that Boyega, Parris, and Foxx share the sort of chemistry that even the most secretive government lab couldn’t cook up.
  62. Two Tickets to Greece
    The film can never quite decide to what extent it wants to be either a light-hearted raunchy comedy or a darker comedic assessment of contemporary life.
  63. Theater Camp
    The film feels like sitting through extended acting exercises where everyone is giving it 110% every take.
  64. The Miracle Club
    In the end, The Miracle Club is splintered at the seams between its desire to tell an uplifting story of forgiveness and a cheeky tale of patriarchal floundering, all the while doing both a tremendous disservice.
  65. The Out-Laws
    The Out-Laws shines when it spotlights the committed performances of its cast.
  66. Mission: Impossible – Dead Reckoning
    The action consistently snaps the film into focus, but it also further illustrates how badly the decision to split this narrative into two parts throws off the delicate rhythm that’s made Mission: Impossible arguably the most consistently entertaining American action franchise of all time.
  67. Amanda
    Carolina Cavalli’s film consecrates a ferocity as refreshing as it is infectious.
  68. The Line
    The Line isn’t without its moments of genuine beauty, but it’s difficult to shake that its distinct lack of a clear story hasn’t given enough space to the characters.
  69. Earth Mama
    Despite Earth Mama’s bleak subject matter, it exudes a beatific warmth, in large part because Leaf takes remarkable pains to dramatize a web of solidarity between a group of Black women alongside her depiction of the very system that disenfranchises them.
  70. Biosphere
    Mel Eslyn’s film is a thoughtful drama about life, gender, and male friendship.
  71. The Lesson
    It’s a testament to the skills of the cast and filmmakers that The Lesson’s mysteries, while easy to foretell, are worth unraveling.
  72. The League
    At its most engrossing, the film vibrantly sketches out the historical roots of the Negro baseball leagues.
  73. Ruby Gillman, Teenage Kraken
    Sweet but narratively thin and didactic, the latest from DreamWorks Animation always seems as if it’s trying to find its footing.
  74. 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.
  75. God Is a Bullet
    Aside from the red stuff, the film is scarcely interested in what’s inside its characters.
  76. The Stroll
    The Stroll is overtly broad, detached, and full of ready-made empowerment rhetoric.
  77. Happer's Comet
    Whereas films like Halloween and Blue Velvet expose the violence and perversion that underlies the manicured artifice of so many suburban environs, Happer’s Comet, by means of a simple temporal displacement, gestures above all at their arbitrariness.
  78. Indiana Jones and the Dial of Destiny
    The only past that Dial of Destiny is interested in plundering is the glory of its predecessors.
  79. Elemental
    Elemental does a whole lot of huffing and puffing but, at its core, feels no more grounded than a gentle wisp of air.
  80. Asteroid City
    A dryly comedic bricolage of mid-century Americana and postwar anxieties with only the lightest dusting of plot, the 1950s-set Asteroid City finds Wes Anderson moving even closer to cultural curation and further from sustained storytelling.
    • 43 Metascore
    • 50 Critic Score
    Maggie Moore(s)
    The story’s center isn’t strong enough for the rest of its disparate parts to hold.
  82. Users
    The film’s triumph is keeping us on our toes by sending us into an ether where fear and wonder live hand in hand.
  83. The Flash
    Nothing Batman or Supergirl do in The Flash to save the world is more effective than what Barry Allen does to save it with a hug and a can of tomatoes.
  84. Spider-Man: Across the Spider-Verse
    It achieves the rarest of feats of any tentpole Hollywood release, animated or not: gleefully matching exhilarating stylistic experimentation with a multi-tiered narrative of equal ambition.
  85. Padre Pio
    Offering visceral immediacy over meticulous construction, Padre Pio bristles with arresting images.
  86. Falcon Lake
    The inadvertent effect of the oppressive, almost overbearing gloom that shrouds Falcon Lake is that it manages to sap the life out of its initially carefree depiction of young people’s emotional lives.
  87. Reality
    The film interrogates both the state of our world and the lines between fiction and document.
  88. Lynch/Oz
    Alexandre O. Philippe’s essay film is both dead-serious about its subjects and playfully exploratory.
  89. The Boogeyman
    Ultimately, The Boogeyman is like so many other modern horror films that prioritize mood above all else.
  90. Kandahar
    Where Kandahar is most intriguing is in the oddly even-handed depiction of both American and Middle-Eastern characters as largely exasperated professionals going about their grisly work because they’re too old to pivot to a different job.
  91. The Little Mermaid
    This Little Mermaid feels more or less like two-hour-plus cosplay with the texture and gravitas of a Disneyland sideshow.
  92. White Balls on Walls
    Sarah Vos creates a nearly mockumentary effect that neither fully lampoons nor endorses contemporary standards for the art world’s political correctness but lands at a decidedly more ambivalent point.
  93. Fast X
    Being as this is the first of a possibly three-part finale, Fast X’s sense of fun is constantly deflated by all the table-setting.
  94. Sanctuary
    This is a theatrical story told in a purposefully and self-consciously theatrical manner.
  95. Stay Awake
    Jamie Sisley’s film looks at its serious subject matter through a maudlin lens.
  96. L'Immensità
    By turns wry and tragic, but never glib or mawkish, this is a visually rich and evocative drama about navigating the often treacherous path to adulthood.
  97. The Cow Who Sang a Song Into the Future
    The film is an object lesson in what can result when a work of art subordinates itself to a message.
  98. Hypnotic
    The film is a pointlessly complicated house of cards that crumbles due to its own hollowness.
  99. Fool's Paradise
    The film sprints past its targets, dealing glancing blows to subjects that have already been obliterated by decades’ worth of Tinseltown parodies.
  100. The Starling Girl
    The film is an impressively complicated and compassionate drama about shame and desire.
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