Slant Magazine's Scores

For 7,777 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:
7777 movie reviews
  1. The film exists resolutely outside of salience and doggedly within the comfort of escapism.
  2. A reasonably sensitive and occasionally insightful look into the mind and psyche of an impassioned and deeply troubled artist.
  3. The documentary renders poverty a mysterious entity instead of a curable malady of systemic exclusion.
  4. It blossoms into a breezily utopian depiction of a ménage á trois whose entirely matter-of-fact presentation sets up an intriguing dissonance with the prim period setting.
  5. The film’s best trait is the one that permeates every truly great first-contact story—not just the hope that our first meeting with the strangest of strangers is benevolent, or that the universe is too vast to determine they all wish good or ill on us, but that connecting with humanity still has value.
  6. If there’s a moral here, it might be that the only thing worse than a competitive billionaire is a bored one.
  7. As an anguished cry against colonialism, Pepe works best when illustrating the micro ways in which culture is erased by capital interests.
  8. Shallow to its core and as propulsive as a runaway locomotive, it's the most blatantly summer movie-ish of the Mission Impossibles. And also, surprisingly, the most viscerally entertaining.
  9. This is a confident work that smashingly updates the Southern gothic for contemporary generations.
  10. The film strikes a poignant chord with its chilling portrayal of a state-sponsored euthanasia program that utilizes movie-watching as a narcotic designed to help the sick and elderly die peacefully.
  11. Suffice to say, this small offering from the horror genre is a hoot to watch, with never a dull moment.
  12. Can a film be faulted for being too sympathetic toward its characters, for limning a milieu with extraneous humanism?
  13. Olivier Assayas’s film is a gently smart and warm-spirited look at love as the core term of human existence.
  14. Deadpool 2 muddies the distinction between parodying comic-book-movie conventions and perfunctorily adhering to them.
  15. The film makes the path to basketball glory and the road to personal redemption seem oddly effortless.
  16. The film buoyed by Kelly Macdonald, who's a master of understated vulnerability, but she can't steer it out of the doldrums.
  17. Throughout, J Blakeson crafts sharp, curt dialogue that makes a fashion statement out of contempt.
  18. Its clunky incidents of exposition leave us with no real understanding of what anyone is thinking or feeling.
  19. Jason Moore's film is more or less successful in inverse proportion to the degree that it plays its material by the book.
  20. For all of its slavish devotion to Mary Poppins, the sequel doesn't even seem to recognize its greatest attribute: its star.
  21. The film's clichés ultimately contain both too little conviction and too little complication, their inspirational messages more imagined than real.
  22. Re-employing the tools of Jacques Tati and Jerry Lewis, this pleasant fable reclaims artful slapstick with a bliss that's hard to deny.
  23. Maxime Giroux's sharp filmmaking instincts aren't always supported by similarly acute dramatic instincts.
  24. Adam Wingard's You're Next brazenly merges the home-invasion thriller with the dysfunctional family dramedy.
  25. Pulled awkwardly in so many directions, this Toxic Avenger all but comes apart at the seams.
  26. The film unfolds at an excessive remove from its subject matter, and it becomes less an incisive thesis about the pope than an occasion for Gianfranco Rosi to flex his stylistic muscles.
  27. A decidedly adult drama about love and sex, wherein the comedy is largely incidental.
  28. The film exposes the idea of places as metaphors, mirrors, and symptoms for the people who inhabit them.
  29. A beautiful, gleefully weird vanity project that never quite coheres.
  30. It’s Argento who consistently makes the most compelling and incisive on-screen presence throughout Simone Scafidi’s documentary.

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