Slant Magazine's Scores

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For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. Black Widow
    In its final moments, Black Widow gives its heroine the humanity she never quite gained in her appearances in prior Marvel films, and it’s a shame that this slight but crucial wrinkle to the familiar morality of so many superhero stories ultimately feels more like a twist than a springboard for a new, more morally enlightened era of the MCU.
  2. In the Basement
    Cinema hasn't been this close to the dusty cogs of desire's machinery and unapologetic about pleasure since Pasolini.
  3. The Other Story
    Through this endless string of undercooked subplots, Avi Nesher’s film continually trips over itself.
  4. Dick Tracy
    A highly impressive effort.
  5. Z for Zachariah
    The film squanders the promise of its scrutiny into how people recalibrate their sense of morality in times of crisis.
  6. Problemista
    The film doesn’t lock on a target long enough for it to work up a head of steam as satire about the art world and how it thrives on nepotism, let alone one about the frustrations of the immigration process.
  7. Go Down Death
    The end result is a bit like a beautiful diorama, in which the people share a common purpose with the furniture: to fill space and look nice.
  8. American Woman
    Sienna Miller lends credibility to a character that in other hands might seem like a caricature of the white underclass.
  9. Eureka
    The genre trappings are familiar, but this isn’t any old horse opera.
  10. The Ballad of Genesis and Lady Jaye
    The Ballad of Genesis and Lady Jaye tries so hard to keep up with the quirkiness and theatricality of its subjects that it ends up canceling them out.
  11. Vazante
    Daniela Thomas seems stymied by her own images, unable to extract the turmoil and violence suggested by her story for fear of upsetting the austere surface harmony of her visuals.
  12. Rustin
    Organizing is thankless work, and even though the film, like others in its lineage, functions as an ode to the unsung workers for the revolution, it only turns that tedium to spectacle, rarely willing to truly think about organizing as, well, boring.
  13. Opera
    Opera is a violent aria of memory, bad luck, the artistic drive and the horror of the stare.
  14. I Was at Home, But
    Angela Schanalec’s film configures itself most potently in hindsight as a punch to the gut.
  15. Monsters and Men
    Like many films tackling socially inflammatory material, Monsters and Men is constrained by its politics.
  16. S#x Acts
    In its refusal to bring an easy understanding to its main character's behavior, it comes dangerously close to presenting her as a willing perpetrator in her own victimhood.
  17. Bluebird
    Unable to reconcile plot with poetry, Bluebird is knitted-together by its sense of place and lived-in performances, yet unraveled by anemic false melodrama and overbearing music.
  18. The Divine Order
    The film's performances and narrative flounder to strike the right balance between comedy and drama.
  19. Last Days in the Desert
    It's never made clear how witnessing a family deal with their specific issues affects Jesus's own perspective on his destiny.
  20. Band Aid
    At its most honest, the film wrestles with the reluctance or unwillingness of women to fulfill ostensibly requisite roles.
  21. The Captain
    In one fashion, Robert Schwentke proves to be too complicit with his protagonist, regarding evil and human banality as stimulation.
    • 67 Metascore
    • 63 Critic Score
    Bottle Rocket
    Anderson has a great deal of empathy for his charming band of fuck-ups, but the characters are thinly drawn, and Anderson's attempts to lend the story emotional weight, like giving Anthony a ludicrously one-dimensional love interest in South American housekeeper Inez (Lumi Cavazos), largely fall flat.
    • 67 Metascore
    • 63 Critic Score
    American Promise
    The documentary's lack of a cohesive thesis may frustrate at times, but its power lies in its exposition of the mundane.
  24. V/H/S/Halloween
    Every segment passes the basic scary-movie smell test of showing you something that you haven’t seen before, and that includes a truly depraved death involving a large quantity of gumballs.
    • 67 Metascore
    • 63 Critic Score
    Dead Man's Wire
    If Dead Man’s Wire adds up to less than the sum of its vicarious jolts and sardonic jabs, it’s perhaps a result of Gus Van Sant’s style fading into the background.
  26. Concrete Cowboy
    The film is stirring when it really dives into specificity.
  27. Avatar: The Way of Water
    For all the genuine thrills provided by its pioneering pageantry, Way of Water ultimately leaves you with a soul-nagging query: What price entertainment?
  28. The New Rijksmuseum
    It most potently strikes the tone of an elegy, pensively observing that beneath the bickering in museum boardrooms lies a massive treasure trove of art history that's being kept from the public's eye.
  29. Lord of the Flies
    Brook renders savagery with the despairing eye of a humanist, and with the irresolvable ambivalence of an artist.
  30. Deadstream
    The film doesn’t quite live up to its promising premise and handful of clever camera gimmicks.
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