Slant Magazine's Scores

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For 7,788 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 6.2 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: 4,359 out of 7788
  2. Mixed: 1,495 out of 7788
  3. Negative: 1,934 out of 7788
7788 movie reviews
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  1. Why Don't You Play in Hell?
    Refusing to mourn anything, displaying a Futurist-style disdain for the past, Sion Sono imagines a world in which static adherence to old ideas leads directly to doom.
  2. Richard Jewell
    Ironically, Clint Eastwood is as condescending of Jewell as the bureaucrats he despises.
  3. The Night House
    The film upends the clichés that practically define the ghost story in surprising and intriguing ways.
  4. American Animals
    As he showed in "The Imposter," writer-director Bart Layton knows how to spin a compelling yarn.
  5. Meet the Fokkens
    Few recent studies of commercialized sex have been character profiles, so Rob Schröder and Gabrielle Provaas's documentary is an unusual and welcome polemic.
  6. The Long Riders
    The Long Riders takes more than a few cues from John Ford, favoring laconic characters whose projected confidence masks an inability to vocalize basic desires.
  7. Leave the World Behind
    In the end, Leave the World Behind is content to blandly shrug in the direction of an amorphous calamity, reaching for a profundity that it fails to achieve.
  8. Popstar: Never Stop Never Stopping
    The film's lampooning of a business built on pure surface extends to its riotous original songs.
  9. Take This Waltz
    Take This Waltz is full of chance encounters, some less likely than a lobby with nine hundred windows or a bed where the moon has been sweating.
  10. Everybody Knows
    Asghar Farhadi falls back on the expository dialogue and dubious perspectival shifts that he frequently resorts to as a means of wrapping up knotty narratives.
  11. The Wedding Banquet
    The humor lands as if it’s coming not from the writers but through the characters by its grounding in the details of their lives.
  12. The Third Murder
    In The Third Murder, as in his other films, Hirokazu Kore-eda informs tragedy with a distinctive kind of qualified humor that's realistic of how people process atrocity.
  13. Hustle
    Hustle doesn’t really seem to know who its characters are, much less how they fit into the complicated web of sports, media, and finance that defines the NBA.
  14. Land Ho!
    That the filmmakers consistently catch the nuances of character that bind the two men to each other, rather than simply tracing the pros and cons of their dispositions, is what gives the film its melancholic yet vibrant resonance.
  15. Songs My Brothers Taught Me
    The film is more taken by its own formal composition than enunciating the musical edification promised by its title.
  16. Thank You for Your Service
    The film is admirably frank in its depiction of lingering trauma but too often struggles to capture its more ineffable qualities.
  17. Imperium
    It demonstrates both the fatal proximity and deceptive distance that can exist between the words and deeds of extremists.
  18. Language Lessons
    Had the film trusted its self-imposed minimalism a little more, it might have been a lot more successful as a character study.
  19. Europa Report
    After a while, it's hard to escape the fact that the audience is watching a potential monster movie in which most of the fun stuff — i.e. the monster—has been pared away.
  20. The Day the Earth Blew Up: A Looney Tunes Movie
    The film’s open affection for the Looney Tunes franchise has a restorative quality.
    • 68 Metascore
    • 75 Critic Score
    Police Story 2 (1988)
    Though ostensibly sub-Hitchcockian wrong-man mysteries, with a liberal serving of cop-drama clichés rounding out the narrative framework, the films are better enjoyed as purely cinematic catalogues of set pieces and sight gags, spectacles of breathless physical excess.
  22. Fort Bliss
    The complicated psychological realities of army personnel require a tougher directorial treatment than the maudlin melodrama presented here.
  23. Avengers: Infinity War
    Infinity War is all manic monotony. It's passably numbing in the moment. And despite the hard-luck finish—something an obligatory post-credits sequence goes a long way toward neutering—it's instantly forgettable.
  24. A Vigilante
    It conspicuously tries to distance itself from the revenge film’s propensity toward florid excess.
    • 68 Metascore
    • 88 Critic Score
    Maps to the Stars
    If the research that Cronenberg and Wagner engaged in for Maps to the Stars oftentimes appears more entomological than sociological, there's nonetheless a plaintive chord of melancholy that plays throughout the film.
  26. Two Pianos
    Arnaud Desplechin’s film only flirts with questions about the sacrifices made for art.
  27. Sorcerer
    Rather than a fleeting image of violence, however, Friedkin’s cyclical, almost Kafkaesque insistence that politics revolves around now globalized, corporate power delegating hired guns to do under-the-table bidding across national boundaries announces itself through the soundscape, with Tangerine Dream’s electronic basslines substituting for bloodshed. No one escapes the suffocating corrosion of Sorcerer’s polysemous diegesis—not even Friedkin himself, as audiences and industry would have it.
  28. Girl Model
    The documentary makes you wonder about every beautiful woman who's ever stared out from a publication, poster, or billboard, looking sophisticated and self-assured.
  29. F1: The Movie
    F1 succeeds for many of the same reasons that Top Gun: Maverick does: for elevating familiar material with old-school filmmaking swagger.
  30. John Wick
    The film is thematically thin, and it has a tendency to embrace the action genre's more obnoxious elements, but there's a proudly no-nonsense air to its nonsensicality.
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