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. The Way, Way Back
    Praises the electric carelessness of teenage angst while depicting it as if it were ultimately no more exciting, though no less pleasant, than an hour in the wave pool.
  2. The Americanization of Emily
    Though a bit overstuffed with long-winded speeches, Chayefsky’s scabrously funny script brims with snappy, crackling dialogue.
  3. The Desert Bride
    As two-handers go, the film has a moderately compelling pair of performances at its center, with Claudio Rissi’s take on a fun-loving road warrior providing an amusing, if obvious, counterpoint to Paulina García’s reserved homebody.
  4. Sometimes I Think About Dying
    The film is an imperfect but affecting portrait of social isolation that captures both the pain and the warmth that comes with finally letting others in.
  5. Chef
    Jon Favreau's film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
  6. Detropia
    Seems to be looking for answers, but the ones it finds are too close to the surface to be satisfying.
  7. MS Slavic 7
    In its balance of a wispy narrative and long, quiet episodes of textual close reading, the film feels incomplete in a productive way.
  8. House of Wax
    It’s Price that gives House of Wax its characteristic balance of elegance and lurid theatricality.
  9. Missing Link
    As in Laika’s other efforts, the humor in the film is more wry than gut-busting, but Chris Butler has developed some truly inventive comic characters.
  10. Dream Horse
    After watching this Welsh racehorse drama, even those of us who’d struggle to pronounce the word may find ourselves feeling a bit of hwyl.
  11. Tales from the Golden Age
    The first four of the film's 1980s-set episodes are shorter in length and more anecdotal in nature than the last two and deal primarily with the pageantry and inflexible customs behind the regime with a perspective at once amused and bemused.
  12. The Lesson
    The film ultimately understands poverty as a profound and often irreversible desolation of terra firma.
  13. Journey to the West
    Stephen Chow's distinctive vision is evident in the seemingly boundless imagination of his scenarios, and in the film's sincere spiritual concerns and generosity toward misfits and outsiders.
  14. My King
    Maïwenn fashions a bracing film about co-dependency, capturing the erotic contours of subservience and flattery.
  15. The Harvest
    Director John McNaughton, once an agile orchestrator of seemingly incompatible tones, has retained his talent for teasing insinuation.
  16. Stations of the Cross
    Stations of the Cross acknowledges that putting theoretical behaviors and mindsets into practice can have unwieldy consequences if context and intent are wholly ignored.
  17. Rise of the Planet of the Apes
    Like the film that constrains him, a prequel to Planet of the Apes, perhaps James Franco understands his performance as something that will one day evolve into something far greater.
  18. The Innocent
    The innocent, it turns out, isn’t a single character but the person inside us all, playing at the version of ourselves we’d rather be.
  19. The Boy Who Harnessed the Wind
    Chiwetel Ejiofor announces himself as a sensitive, shrewdly restrained filmmaker with his quietly assured directorial debut.
  20. Enola Holmes
    Even when the plot occasionally falters, Enola’s continuous invitations to complicity renew the film’s momentum.
  21. My Friend Dahmer
    The film wants to treat Jeffrey Dahmer like a character, but it invariably frames him like a specimen.
  22. Bethlehem
    In the end, the film's misstep isn't some failure at being sufficiently morally gray. In being the thriller that it is, it smudges the palette beyond recognition.
  23. Jesús
    Fernando Guzzoni's Jesus is at its best when it steers clear of pat moralizing and simply yokes its moody sense of atmosphere to the aimlessness of the story’s young characters.
  24. Come True
    The film offers a glimpse of a world where screens are pores in the boundary between dreams and waking life.
  25. Omen
    The patchwork structure of Omen is suited to the complexity a setting where characters switch between French, Swahili, and English depending on who they want to keep in the dark. Yet it’s difficult to shake that there are too many threads for a film of this length to do them justice.
  26. A Quiet Place: Day One
    Like most of this series’s best action, the big bombastic noise is often a distraction from something far more intimate, and in Day One’s case, something far more existentially beautiful.
  27. Crime 101
    Like Mike’s modus operandi as a criminal, the film goes through all the pro forma motions.
  28. Red Obsession
    Offers the ins and outs of the world of wine as an implicit metaphor for art appreciation, from both aesthetic and financial standpoints.
  29. It Came from Outer Space
    Inspired by an outline by Ray Bradbury and modified for the screen by Harry Essex, It Came From Outer Space remains the granddaddy of the ’50s atomic-scare pictures.
  30. No Time to Die
    This Bond’s overall arc from modishly merciless killing machine to aging assassin with the familial feels comes off as a treacly sop to psychological complexity.
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