Slant Magazine's Scores

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For 7,789 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 7789
  2. Mixed: 1,496 out of 7789
  3. Negative: 1,934 out of 7789
7789 movie reviews
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  1. Fences
    Danzel Washington honors the manna of the play's being: the micro of romantic longing, self-loathing, and nostalgia.
  2. Into the Inferno
    The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that's surprisingly conventional by his standards.
  3. Voyage of Time: The IMAX Experience
    The film captures our world as systematic yet miraculous, evolving toward more elaborate and resilient forms.
  4. The Apostate
    The Apostate finds humor in unusual images or situations, few resounding with lasting impact.
  5. London Town
    The film evinces a clear-eyed sense of the limits that a capitalistic society places on its working class.
  6. Colossal
    When the film's whirligig plotline goes off-rail in the heady final act, Oscar and Gloria's origin story bends over backward to justify a magical-realist conceit that was more fun without explanation.
  7. Prevenge
    Alice Lowe evinces a knack for locating society’s most awkward pressure points, and a willingness to punch them.
  8. A Woman's Life
    The choice of low-grade, handheld digital images further reduces the film to the clichés of revisionist literary filmmaking.
  9. Tower
    Broadly, filmmaker Keith Maitland's treatment of the UT Tower shooting is both taut and humane.
  10. The Autopsy of Jane Doe
    This is cinema’s most comprehensive look at the gruesome business of necropsy since Stan Brakhage's The Act of Seeing with One’s Own Eyes.
  11. Theo Who Lived
    Theo Who Lived is fascinating, and Theo Padnos is an exacting storyteller, but the film pushes through one story point to the next, occasionally prizing velocity over texture.
  12. Phantasm III: Lord of the Dead
    Don Coscarelli outdoes the humor of John Hughes in what feels like a more honest version of the gleeful sadism in Home Alone.
  13. My Cousin Rachel
    After a while, the enigmatic nature of Rachel Weisz's character starts to feel less like an enticing mystery than a narrative trick.
  14. Come and Find Me
    Aaron Paul possesses an innate everyman quality that lends itself well to writer-director Zack Whedon's film.
  15. A Kind of Murder
    The film seems more interested in its art design then in fully developing the story's underlying sexual ethics.
  16. By Sidney Lumet
    Its strength lies in taking a thematic approach to Lumet's work, which prevents a chronological rattling off of one title after another.
  17. Don't Call Me Son
    Writer-director Anna Muylaert writes themes into excellent, controlled first acts that turn capricious by the third.
  18. Your Name.
    Even at its most outrageously bizarre, Your Name is bound together by a passionately romantic core.
  19. All We Had
    Katie Holmes's feature-length directorical debut is more earnest than remarkable, but with its heart in the right place.
  20. The Zookeeper's Wife
    The film imbues a pessimistic view of the seemingly bottomless depths of human cruelty with sorrowful tragic force.
  21. Robin Hood
    Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
  22. The Wall
    The Wall packs a surprisingly savage punch by boiling the exploits of battle down to its essential elements.
  23. Lost and Beautiful
    When he's not busy lamenting a bygone past, Marcello more broadly and usefully reminds us of a world beyond our own and a time beyond the present, all of which can be easy to forget in a country as full of political and economic turmoil as present-day Italy.
  24. Wheeler
    Ryan Ross's Wheeler is at its strongest as a showcase for Stephen Dorff’s husky, lived-in performance.
  25. Ghostland: The View of the Ju/’hoansi
    The film’s nagging representational problem stems from its reductive sense of place and portraiture of emotional displacement, which gradually phases out the possibility of thornier revelations.
  26. Kedi
    Ceyda Torun’s Kedi is an open, tender-hearted meditation on the relationship between felines and humans.
  27. Despicable Me 3
    If all this wackiness is only occasionally laugh-out-loud funny—the ‘80s references feel particularly played out—it’s nonetheless executed with good-natured breeziness.
  28. Isle of Dogs
    Anderson is clearly a massive talent working, again, in his prime. However uncomfortable, it's crucial to ask what gives him the right to romp around in all these signifiers in service of bespoke whimsy—but then the word for it isn't “right,” but rather privilege.
  29. The Lovers
    Azazel Jacobs’s film takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.
  30. Jeremiah Tower: The Last Magnificent
    Lydia Tenaglia's direction is occasionally flashy and cluttered, but her empathy for Tower is evocative and poignant.
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