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. Brimstone
    Its bid for social correctness does nothing to make the juvenile and numbing fixation on brutality any more palatable.
  2. White Sun
    Deepak Rauniyar may be more skilled dramatist than inspired image-maker, but his admirably balanced and humane social and political perspective is bracing nevertheless.
  3. Canners
    Canners plays a bit too infatuated with its subjects and for reasons not wholly clear by the film's end.
  4. Actor Martinez
    Mike Ott and Nathan Silver's film has a ghostly, tremulous quality that eats under the skin.
  5. Who's Crazy? (1966)
    Thomas White's is a bizarre, undisciplined romp through snowbound Belgian vistas and '60s signifiers alike.
  6. The Other Half
    The film's emotional resonance is consistently stifled by excessively gloomy aesthetic and stylistic tics.
  7. Patti Cake$
    The obstacles and opportunities that Patti encounters are often rote, but her struggles and triumphs are detailed with a gravity that honors and elucidates her feelings.
  8. Raw
    Throughout Raw, Julia Ducournau exhibits a clinical pitilessness that’s reminiscent of the body-horror films of David Cronenberg.
  9. Suntan
    Argyris Papadimitropoulos struggles to lift his material out of a downbeat mode of cringe comedy.
  10. Beauty and the Beast
    Bill Condon's Beauty and the Beast actually delivers a remarkably optimistic balm to a festering, existential wound.
  11. Wolves
    Bart Freundlich alternates somewhat arbitrarily between his various plots, leaving a lot of loose ends in the process.
  12. The Institute
    The Institute seems constantly on the verge of dipping into spoof, though of what exactly is difficult to say.
  13. Table 19
    Each of Table 19‘s faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.
  14. Catfight
    Onur Tukel attempts to connect Ashley and Veronica’s barbarity to the broader callousness of American life, but the satire is too blunt to really stick.
  15. Kiki
    When compared to the high-stakes dramas at the center of Paris Is Burning, where sex workers dreamed of becoming supermodels, Kiki feels rather tame.
  16. Junction 48
    At its best, the film demonstrates that no art is more political than that which depicts the lived experience of the oppressed with accuracy, empathy, and moral clarity.
  17. Contemporary Color
    The Rosses share David Byrne’s interest in the minutiae of habitats and the comforting enclosure they provide along with the discomfiting constriction of anonymity.
  18. Apprentice
    Writer-director Boo Junfeng casually reinvigorates the prison drama, boiling its elements down to their primal essence.
  19. The Last Word
    Its main character's transformation isn't significant enough to justify her complete redemption in the eyes of those around her.
  20. Before I Fall
    All the film has to show for its efforts are tired platitudes about the value of altruism and living each day as it if were the last.
  21. Nakom
    Kelly Daniela Norris and T.W. Pittman's film immediately announces itself as a modest triumph of world-building.
  22. The Human Surge
    The film’s default state is an ambient inertia that gestures vaguely in multiple directions without concerning itself with the hard work of constructing an argument, a convincing milieu, or even a compelling mood.
  23. Collide
    It's difficult to begrudge a film that has the good sense to put so much stock in Ben Kingsley's hammy theatrics.
  24. Les Hautes Solitudes (1974)
    Trading on the already-resonant associations engendered by a famous face, Garrel's film responds by forging a new, deeper connection between an actress and her public, resulting in that rare moment of cinematic alchemy where the line between fact and fiction has not only blurred, but ceased to matter entirely.
  25. Get Out
    Throughout Get Out, Jordan Peele incisively probes the connection between liberal racism and good old-fashioned white supremacy.
  26. Bitter Harvest
    The film is an awkward mix of swashbuckling love story and polemic, painted in very broad strokes.
  27. Paraguay Remembered
    Like most great essay films, Paraguay Remembered is driven by associations not just with art works with which it shares a kinship, but a stream-of-conscious relationship between word and image.
  28. My Life as a Zucchini
    The film circumvents bleakness with a thoroughgoing commitment to understanding and intimacy.
  29. The Girl with All the Gifts
    The film wants to have its flesh and eat it too, but even more damning is how little meat is on its bones to begin with.
  30. Logan
    It recognizes that the thinly veiled secret of Wolverine’s loner act is that he’s always been a cog of some kind.
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