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 Rider
    It manifests a mounting sense of disillusionment, suggesting that the rodeo lifestyle many characters so unreservedly romanticize often leads to physical and psychological ruin.
  2. A Ciambra
    First the film inhabits the eye of a storm—which is to say, the storm of Italy’s wretched peripheries—before submitting to the more ersatz cinematic will of filling Pio’s life with beginnings, middles, and ends.
  3. Dolores
    Peter Bratt's documentary sharply trumpets Dolores Huerta's life and centrality in the turbulent history of social justice since the '60s.
  4. Night School
    One may wonder if Night School's most revealing material has been left on the cutting room floor, so as to offer the sort of uplift that inadvertently marginalizes the very inequalities that drive the film.
  5. Tag
    As dumb as Tag is on the surface, it offers amity, emotional support, awkward tears, the specter of death, and the spectacle of ass-punching slapstick all rolled up in one somehow cohesive collection of all-good spare parts.
  6. Bronx Gothic
    By design, the film is intensely preachy. And this preachiness serves a therapeutic purpose, offering jolting possibilities for empathy.
  7. Happy Death Day
    Happy Death Day twists the inherent repetitiveness of slashers to its advantage by exaggerating it to an impossible degree.
    • 54 Metascore
    • 63 Critic Score
    Tales from the Darkside: The Movie
    Each mini-movie has the same tally of moments of greatness, grossness, and dullness, giving Tales from the Darkside: The Movie an even-handed feel.
  9. Altered States
    The most interesting dimension of Altered States has to be the way Russell sexualizes Eddie’s relationship with godly figures, most notably symbols of Jesus, crucifixion, and his father.
  10. Robin Hood: Men in Tights
    It should be said that this negligible absence of Brooks’s boundary hopping wit and untamed performances doesn’t quite render Men in Tights unwatchable. There’s an appropriate, albeit languid merriment to the proceedings kept alive by a few choice cameos (Dick van Patten, Dom DeLouise, Brooks himself) and a handful of gags that land on their feet.
  11. Santoalla
    Andrew Becker and Daniel Mehrer get close to their subjects only to retreat when things get truly dangerous.
  12. Top Gun: Maverick
    The film fully surrenders to the grandiose fun that’s marked the best of Tom Cruise’s recent star vehicles and reaffirms Joseph Kosinski as a blockbuster craftsman par excellence.
  13. Footnotes
    The ending cheapens its main character and weakens the film's firm commitment to the importance of workplace organizing.
  14. Barracuda
    It's anchored by a pair of dynamic, intuitive performances which mine the psychological complexities of an understandably troubled relationship.
  15. Amnesia
    Amnesia ultimately delivers rich insights about its main characters’ relationship to their backgrounds.
  16. Bushwick
    Cary Murnion and Jonathan Milott's Bushwick is a genre film with a refreshing sense of political infrastructure.
  17. The Nile Hilton Incident
    The film may not reimagine our sense of how the ties that bind bad men are rewritten in times of war, but it nonetheless gives a casually electric sense of how hardscrabble lives persist in such times.
  18. Peter Rabbit
    Peter Rabbit plays like a country cousin to Paul King's Paddington films, similarly balancing slapstick, absurdism, and a touch of gross-out humor, though without King's transcendently oddball sensibility.
    • 57 Metascore
    • 63 Critic Score
    Up in Smoke
    That’s the trouble at the center of the benign but tepid ganja-classic Up in Smoke: Its toking Abbott-and-Costello duo are so content to simply drift away in clouds of smoke that the audience is often left behind looking for the jokes.
  20. Wonder Woman 1984
    The film shows a preference for forgiveness over vengeance, which feels like an okay way to end this particular year.
  21. Game Night
    The film establishes coherent characters and drops them into a twisty mystery plot that’s tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.
  22. The Karate Kid
    The Karate Kid might have been more endurable, maybe even endearing, if its runtime had been trimmed of a solid 30 minutes.
  23. Annihilation
    Annihilation gets momentum from the deeper it pushes into the uncertainties of ecology and the self.
  24. The Death of Stalin
    Armando Iannucci satirizes the manner in which political power is accorded to those who can mask cutthroat ambition behind an outward projection of bland inoffensiveness.
  25. After Love
    The film too often puts too much trust in dialogue, as Marie and Boris's predicament is sometimes perfectly conveyed by the actors' facial expressions and body language.
  26. Cocoon
    The film has something for everyone but, in effect, offers nothing of substance to anyone. The interplay between Ameche, Cronyn, and Brimley allow for some lively, even touching scenes in a product—and make no mistake, a product is exactly what it is—that is, at best, adequate.
  27. Walking Out
    Walking Out is modest in scope, its concerns limited to man’s attempts to live both morally and harmoniously with nature.
  28. Jesús
    Fernando Guzzoni's Jesus is at its best when it steers clear of pat moralizing and simply yokes its moody sense of atmosphere to the aimlessness of the story’s young characters.
  29. Everybody Knows
    Asghar Farhadi falls back on the expository dialogue and dubious perspectival shifts that he frequently resorts to as a means of wrapping up knotty narratives.
  30. Nobody's Watching
    Julia Solomonoff's film ripples with a palpable sense of the sheer distance between the down and out actor at its center and his goals.
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