Slant Magazine's Scores

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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:
  1. Positive: 4,351 out of 7777
  2. Mixed: 1,493 out of 7777
  3. Negative: 1,933 out of 7777
7777 movie reviews
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  1. West
    Christian Schwochow's film is a tense psychological slow burn, putting us in the muddled headspace of its protagonist as she gradually comes unglued.
  2. Ants on a Shrimp
    It offers lively and layered images that reveal the chefs both as individuals and components of a larger social organism.
  3. Kills on Wheels
    Writer-director Attila Till is content to indulge a complication-free mix of bloodshed and pathos.
  4. Ex-Husbands
    The film is full of little moments that speak clearly to the particularities of father-son bonds.
  5. The Debt
    Its performances are resourceful and affecting, with Chastain and Worthington in the past sequences, and Mirren and Wilkinson in the later chapters, exuding a complicated mess of responsibility, guilt, sacrifice, revenge, and regret.
    • 65 Metascore
    • 88 Critic Score
    Black Christmas
    Black Christmas just may be the perfect antidote to the saccharine sweetness of most Christmastime fare.
  7. Fishing Without Nets
    Though this setup is perhaps infused with too much piety, cheating audience empathy toward the main character, it nonetheless generates a compelling air of social fatalism.
  8. Mystery Science Theater 3000: The Movie
    In the theater, whenever Mike, Crow or Tom Servo flub a punchline or resort to a fart joke, you almost want to lean forward and shush them.
  9. Liberation Day
    Throughout, the documentary wavers between a sincere investigation of the avant-garde music group Laibach and self-satire.
  10. Better Than Something: Jay Reatard
    Intimacy doesn't completely give rise to insight in this loving, if largely for-fans-only, posthumous portrait of Memphis-bred punk rocker Jay Reatard.
  11. Mr. Malcolm's List
    The period romance has been increasingly experimented with in recent years, yet both straight dramas and convention-spoofing comedies almost always end up upholding the strict boundaries of the genre as if to prove the limits of reimagining the past.
  12. The Good Lie
    This is a Hollywood-delivered chronicle of the immigrant experience that earns its justification through good will and tact.
    • 65 Metascore
    • 75 Critic Score
    The Fox and the Hound
    A wounded and unresolved movie free of the expected Disney cutesiness and complacency.
  14. The Bay
    The Bay is Barry Levinson's most engaged and entertaining movie since "Wag the Dog," which isn't to say that he's given up his irksome predilection for a certain bullish type of liberalism.
  15. Polina
    Even its sensitive and gorgeous choreographies can't fully offer respite from the hollow narrative.
  16. Pinocchio
    Matteo Garrone’s adaptation of Carlo Collodi’s story trembles with corporeal strangeness and unpredictability.
  17. Shoshana
    It’s possible that a kind of objective moral ambiguity was the goal here, but given the sensitive nature of the material, it’s difficult to shake the feeling that the film’s vagueness is the calculated strategy of those unwilling to take a side.
  18. Puss in Boots
    For all the fuss, it dissolves almost immediately upon contact.
  19. Bill & Ted Face the Music
    The film suggests that Bill and Ted’s dreams of stardom, which have evolved into dreams of acceptance and expression, aren’t so stupid after all.
  20. The Machine Which Makes Everything Disappear
    It ever so subtly zeros in on the extreme particularities of a remote place to find something universal, or at the very least easily comprehensible about despair.
  21. Beauty and the Dogs
    The film savors its obviousness and cruelty as badges of honor, reducing itself to a technical polemic.
  22. Manos Sucias
    Josef Kubota Wladyka is ultimately unable to reconcile complex dynamics any further than with a glimpse toward their fundamentally destructive effects.
  23. American Made
    Doug Liman may effectively maintain a madcap energy through to the end, but unlike Adam McKay or Martin Scorsese, he isn't all that interested in explicating the complex inner workings of vast criminal enterprises.
  24. Not Fade Away
    Triumphs when David Chase's empowerment as a kind of autobiographical historian is balanced with the thrill of submersing the viewer in the tidal pool of his memories
  25. Hearts Beat Loud
    The steadiness with which Haley's film progresses through its dramatic beats is rather like its familiar-sounding indie pop, moving rhythmically toward a predictable climax whose emotional intensity feels unearned.
  26. Film Stars Don't Die in Liverpool
    The film shows no interest in the inner workings of a relationship that’s defined by unusual circumstances.
  27. Plainclothes
    Sexy, scary, and occasionally clumsy, Carmen Emmi’s feature-length directorial debut, Plainclothes, is an anxious and unabashed gay drama about social repression and its impacts.
  28. Last Flag Flying
    Last Flag Flying is colored by how time reshapes our sense of self, embracing some memories while occluding others, and the film ingeniously folds the viewer into a similar state of reflection and uncertainty about previous eras of false optimism about national values.
  29. I See You
    The film’s tone is extremely eerie, with creeping camera movements, striking imagery, abrupt edits, and a delicately sinister score.
  30. Kill the Jockey
    Kill the Jockey’s originality consists not just in taking the clichéd metaphor of rebirth literally, but in casually ratcheting that literalness to ever more fantastical degrees.
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