Slant Magazine's Scores

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For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. The Family Fang
    There's real texture and emotional heft to the central relationship between the siblings, but that's thanks more to the actors than the script.
  2. Tale of Tales
    Matteo Garrone returns the fairy tale to its roots in cautionary horror grounded in deep, contradictory, neurotic relationships with gender and patriarchy.
  3. Holidays
    Every short exudes a commercially slick anonymity that effectively flattens any potential excitement.
  4. Barbershop: The Next Cut
    A pop sonata of stand-up comedy routines layered with, if not vitality, then at least honest energy.
  5. The First Monday in May
    Andrew Rossi pays sporadic lip service to recognizing cultural specificity before returning to his star-gazing ways.
  6. The Jungle Book
    Jon Favreau draws heavily on his film's animated predecessor for plot, characterizations, and more, but doesn't know how to fit these familiar elements into his own coherent vision.
  7. Criminal
    Criminal's absence of style, the lack of relish the filmmakers take in the material's inherent ludicrousness, is a failure of conviction.
  8. Our Last Tango
    Throughout the documentary, the question of truth is equated to the essence of the tango.
  9. My Big Night
    Álex de la Iglesia's film is an explosion of kitsch, an intensely formalized mixture of farce and tragedy.
  10. Colonia
    Nothing more than leftwing exploitation cinema, a cheap thriller dressed up in the guise of a social-justice exposé.
  11. Sing Street
    All traces of grit from John Carney's earlier films have been scrubbed away in favor of relentlessly crowd-pleasing slickness.
  12. Green Room
    The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery.
  13. Above and Below
    The documentary lingers on silences and reveals its subjects only through moments of quotidian behavior.
  14. Rio, I Love You
    The hygienization of Rio into what at times looks like a soulless Southern California town is so scandalous it feels like a spoof of the Cities of Love series.
  15. An Eye for Beauty
    Denys Arcand fashions a commandingly leisurely pace that allows us to follow these people who walk a tightrope separating ecstasy from misery.
  16. The Adderall Diaries
    It's too busy skipping through subplots to do much more than gloss over such heady issues as the fundamental subjectivity of truth and self-identity.
  17. The Boss
    The incongruity between Melissa McCarthy's eagerness as a performer and her character's total lack of compassion makes the film somehow both restless and tedious.
  18. Vita Activa: The Spirit of Hannah Arendt
    It reduces its historical moment to a series of vignettes and voiceovers, each evincing a curiously tone-deaf sentimentality.
  19. Louder Than Bombs
    Louder Than Bombs is a parable that takes depression seriously as a condition and a state of being.
  20. Demolition
    It takes its literalism to such an extreme that, at points, it's difficult to determine whether or not the film is operating with a semblance of irony.
  21. 11 Minutes
    Jerzy Skolimowski's formal control over the material is so masterful that the textual particulars are revealed to be beside the point.
  22. The Invitation
    A charged, unnerving turn of the screw, The Invitation is consumed by the fear of forgetting.
  23. The Blue Hour
    An initially intriguing attempt to splice together a gay romance and a horror film that ultimately shows little flair for either genre.
  24. Mr. Right
    It has a bouncy sense of lunacy, wearing its derivative junkiness on its sleeve with surprising lightness of authority.
  25. Hardcore Henry
    The film's unbelievably precise choreography of action seeks to tap into a universal feeling of powerlessness.
  26. Everybody Wants Some!!
    Richard Linklater's film luxuriates in a world that's the platonic ideal of youthful indulgence.
  27. Darling
    The film's aesthetic is striking, but feels almost intangibly derivative, most obviously suggesting an austere cover of Repulsion.
  28. Right Now, Wrong Then
    Spotting and processing the countless differences between the parts offers pleasures on various levels.
  29. Standing Tall
    The film quickly devolves into a contemptible, exploitative presentation of sociological matters.
  30. Kill Your Friends
    Thanks to a strong performance by Nicholas Hoult, all reptilian sinew and heroin-chic vacuity, it keeps threatening to become more dynamic and self-critical than its final result.
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