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. The Beguiled
    The Beguiled serves as proof that what goes for naturalism in Sofia Coppola’s dominion still verges on being decorative to the point of self-parody.
  2. Girls Trip
    Malcolm D. Lee's film at least it goes down easy. Easy like a Sunday-morning hangover.
  3. Red Sparrow
    The way that Dominika is at once completely transparent and at the same time impossible to read is Red Sparrow's most intriguing through line, not least of which for the way that Jennifer Lawrence makes you grasp the canny mental gymnastics that her character has to do in order for everything that she says to be at once truth and obfuscation.
  4. Master
    The film is seemingly terrified of boring us, offering one elaborate montage of catch and release (or of survey and flee) after another.
  5. The Wedding Plan
    Rama Burshtein allows us to form our own impressions based on what she presents to us of the Orthodox faith.
  6. Strike a Pose
    The filmmakers and performers show great maturity in refusing to settle scores or spill secrets.
  7. Stefan Zweig: Farewell to Europe
    The film hovers between being a straight-up biopic of Zweig and a diagnosis of neoliberalism's recent ceding to neofascist policy and nationalistic fervor.
  8. Detroit
    Kathryn Bigelow hyper-realistically, almost dispassionately, covers her ensemble’s actions in the manner of a somber disaster film.
  9. The Incredible Jessica James
    Throughout the film, one wishes for a bit more depth regarding Jessica's professional struggles.
  10. Novitiate
    The film's meditative and excessive sides never quite cohere, giving the impression of watching two distinct films that are jostling against each other, rather than united in a single story.
  11. 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.
  12. Pop Aye
    It too quickly opts out of its Scenes from a Marriage-like potential for what amounts to an augmented take on The Straight Story.
  13. Thoroughbreds
    Cory Finley's screenplay is full of sharp, exactingly timed exchanges whose rat-a-tat rhythms exert a spellbinding pull, even if the dialogue at times comes off as artificial and mannered.
  14. Trophy
    It goes a long way toward complicating our moral assumptions about trophy hunting, as well as a host of other wildlife issues, including conservation, poaching, rhino farms, and the proper balance between man and nature.
  15. Brigsby Bear
    The film has such a goofy sense of humor and affection for its premise that its uneven narrative is sometimes only as frustrating as a little static on an old VHS.
  16. In This Corner of the World
    Sunao Katabuchi displays a vivid, shattering awareness of how domestic routines can spiritually ground one during a time of demoralizing chaos.
  17. Super Dark Times
    The transformation of a teen into a serial killer isn't credible compared to the portrait of idle suburban adolescence.
  18. Stray Bullets
    What distinguishes Stray Bullets from so many other low-budget crime films is Jack Fessenden's sense of quietness.
  19. The Other Side of Hope
    The Other Side of Hope fulfills the vague sense of its aspirational title as a film limited in scope and led only by the guidance of its maker's skeptical positivity.
  20. 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.
  21. First They Killed My Father
    First They Killed My Father is less interested in global politics than in offering an intensely experiential tapestry of war and invasion as witnessed by a child.
  22. Okja
    In Okja, a transporting protest fantasy becomes another shrill dust-up in the waging of the culture wars.
  23. Who's Crazy? (1966)
    Thomas White's is a bizarre, undisciplined romp through snowbound Belgian vistas and '60s signifiers alike.
  24. Canners
    Canners plays a bit too infatuated with its subjects and for reasons not wholly clear by the film's end.
  25. Past Life
    Its improbable story gives breath to the burden of fate on those living with a past unreconciled.
  26. First Man
    Damien Chazelle is clearly in awe of the collective efforts it took to propel Neil Armstrong to the moon, but he remains ambivalent about whether it was all ultimately worth such immense sacrifice.
  27. The Transfiguration
    The film is at its strongest when navigating the story's uneasy relationship to its genre.
  28. I, Olga Hepnarová
    The filmmakers take few measures to engender sympathy for Olga, but their prismatic take on her life, while novel, precludes making any resonant statements about homosexuality, emotional health, or humankind’s capacity for evil.
  29. The Wound
    Though the film settles into a familiar coming-of-age trajectory, it's always enlivened by John Trengove's intimate, inquiring eye.
  30. Burden
    The film dispenses with sensationalism, engaging with Chris Burden's most notorious work on its own terms.
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