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. Once Upon a Time in America
    As a magnum opus, Once Upon a Time in America falls just a few point tragically shy of greatness.
  2. The Workshop
    Matthieu Lucci deftly carries the weight of all the symptoms that The Workshop loads upon Antoine, a resonant character whose inscrutability is at once dangerous, sympathetic, and eerily apt.
  3. The Devil and Father Amorth
    The Devil and Father Amorth is a flimsy stunt, but in his blunt, slapdash way, William Friedkin locates the intersection existing between religion and pop culture—a fusion that insidiously steers political currents.
  4. Friday the 13th Part 2
    By now, everyone knows what to expect from this kind of movie, but what’s surprising is how the low-budget rawness, cheap film stock bubbling over with grain, and washed-out lighting schemes give the film a kind of base in reality.
  5. Whitney
    For most of Kevin Macdonald's film, Whitney Houston seems a guttering flame in a public crosswind, with only fleeting celebration given to the wildfire of her success.
  6. Friday the 13th: The Final Chapter
    Even though we would see more of Jason over the years (first as a zombie, then battling a telekinetic super-girl, taking on Freddy Krueger within his own warped dreams, even hacking teens to bits in outer space), this one certainly felt as if it properly closed out the Friday the 13th series before it devolved into unadulterated camp.
  7. First Match
    After a certain point, Olivia Newman's film treats the womanhood of its main character as an afterthought.
  8. Relaxer
    Joel Potrykus's droll world is defined by feats of man-child pettiness, by lazy guys who turn the banalities of daily life into meaningless trials of integrity.
  9. Duck Butter
    The setup of a 24-hour relationship that bypasses the getting-to-know-you phase speaks to the nature of expedited modern dating culture, but despite its attempts at intimacy, Duck Butter is difficult to fall in love with.
  10. The Informer
    Outside of the Easy Money series, Kinnaman has rarely been allowed to utilize his tightly wound intensity this explicitly.
  11. Fighting with My Family
    While it pays lip service to the fascinating theatrical norms of pro wrestling, the film ends up expending most of its energy on its search for barriers that Paige can break through.
  12. Bad Times at the El Royale
    The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
  13. Beautiful Boy
    Felix Van Groeningen commendably sustains the story's profound sense of irresolution: abuse-rehab-relapse, abuse-rehab-relapse, abuse-rehab-relapse—an endless cycle of teeth-gritted optimism at best, soul-deadening dashed hopes at worst.
  14. The Hills Have Eyes
    The major saving grace of The Hills Have Eyes is that it’s better acted than probably any other film from Craven’s early period. Because of his emotionally bare nature, Robert Houston’s achingly implosive terror is more complex than your average male lead in a horror film.
  15. Upgrade
    Upgrade is most effective when mining the comical and bizarre love-hate chemistry between Grey and Stem and pairing that singular conflict with batshit-crazy action, but the film’s follow-through is clunky and unfulfilling.
  16. That Summer
    The makers of this rescued-footage documentary ultimately understand the power of its subjects' personalities.
  17. Motel Hell
    This film’s pleasures are extremely mild, but they’re discernable for the curious fan of retro redneck horror, or, far more likely, for the genre critic looking to finish their dissertation pertaining to The Texas Chainsaw Massacre’s vast influence on the 1970s and 1980s grindhouse movie’s vision of gleeful small-town Americana hypocrisy.
  18. Little Pink House
    Courtney Moorehead Balaker's film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
  19. The 12th Man
    At 130 minutes, it isn't a short film, and its most intriguing elements, much like Baalsrud's rations, are in short supply.
  20. In the Last Days of the City
    By diagramming a vastly complicated metropolis like Cairo from an unabashedly first-person perspective, In the Last Days of the City interrogates middle-class privilege in a time of crisis as a series of either-ors: leaving for Europe or staying in Cairo, hiding at home or protesting in the streets, filming blindly or seeking retrenchment in broad certainty.
  21. Nana
    The film flattens Maryla's personal story into hazy generalities about tolerance and the value of remembrance.
  22. The Quest of Alain Ducasse
    The documentary provides little sense of intimacy with its subject, but it gives an in-depth look at the master chef's uniquely obsessive work habits.
  23. Jonathan
    The dichotomy represented by Jonathan and John is too clean for the film's exploration of a divided psyche to ever feel particularly complex.
  24. Love, Gilda
    Its success is due to the way it relies on Radner's often elegant words to relay her experience of female stardom.
  25. Wrestle
    The documentary shines a piercing light on the sorts of people that our governments would too often rather forget.
  26. 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.
  27. Arctic
    The film has a raw immediacy that can only be achieved when most cinematic excesses have been eliminated.
  28. Girls of the Sun
    With its naked celebration of self-sacrificial combat and idealization of the soldier as an avenging angel, it strikes a tone redolent of old-school war propaganda.
  29. Rafiki
    The film's slotting of two African women into a familiar romantic structure represents a radical and important upending of contemporary Kenyan sexual mores.
  30. Diamantino
    The film is at its strongest when depicting how Diamantino becomes a tool of politicians hoping to oust Portugal from the EU.
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