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. Downton Abbey
    Every scene here feels as if it begins with a grenade being thrown into a room, leaving one to wonder how it will be diffused, and after a while, all you see are the gears of various sublots turning separately until they mesh together and move in unison.
  2. The Mule
    The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
  3. Missing Link
    As in Laika’s other efforts, the humor in the film is more wry than gut-busting, but Chris Butler has developed some truly inventive comic characters.
  4. Possum
    In the end, there's little payoff for all the repetitive series of evocative visions and mute stares.
  5. 9 Fingers
    Despite all its confoundments, 9 Fingers works as a unified whole thanks to F.J. Ossang's playful sense of humor.
  6. Searching for Ingmar Bergman
    Margarethe von Trotta's documentary reminds us of the reasons for Bergman's continued influence on cinema today.
  7. The Quake
    When the devastating quake finally strikes, it creates a truly suspenseful scenario of vertiginous falls and last-minute saves.
  8. Bambi
    While not nearly as emotionally impacting as some of Disney’s other classics, Bambi might be the most restrained and lyrical of the bunch, a poem to the simplicity and purity of natural life.
  9. Alice in Wonderland
    This lack of force-fed moralizing, coupled with its diffuse plot and hazily psychedelic imagery, makes it hardly surprising that the film’s revival came about when it developed a cult following.
  10. Bird Box
    Many sections of Bird Box don’t hold up to a second’s scrutiny; the conceit’s silliness and convenient scare tactics make Shyamalan’s take on infectious-suicide horror seem downright subtle by comparison.
  11. What She Said: The Art of Pauline Kael
    The documentary is enjoyable, but one suspects that its subject may have found it soft.
  12. The Good Liar
    An airport novel of a movie, Bill Condon’s The Good Liar is efficient and consumable, if a bit hollow.
  13. The Mustang
    Single-minded and direct in its execution, the film is a hard look at the extremes of masculine guilt and healing.
  14. The Prowler
    What the film lacks in narrative drive, coherence, and performance, it makes up with thoughtful lighting, strong cinematography from Raoul Lomas and an uncredited João Fernandes, and, of course, Savini’s lovingly overblown and impossible splatter effects.
  15. BMX Bandits
    Ignoring the fact that BMX Bandits is as intimate as a trip to Toys “R” Us, it has almost nothing to offer in the way of impressive stuntwork, carefree yuks, or semi-competent acting. Trenchard-Smith, a master at condescending to his audience, clearly diluted Hagg and Edgeworth’s already toothless concept; that said, there was probably no good way to dress up a line as dire as “You’re right in the poo now, sister” or even “Your little walkie talkies have gone walkies.”
  16. An Acceptable Loss
    Writer-director Joe Chappelle’s An Acceptable Loss is a B movie with a morally urgent message.
  17. The Wedding Guest
    Michael Winterbottom’s film succeeds in translating the problematics of intercultural conflict into thriller fodder.
  18. Deadly Blessing
    More often than not, the movie only glancingly burrows beneath America’s attitudes toward rural evangelism that surfaced concurrently with the advent of the Moral Majority.
  19. Hail Satan?
    The documentary shrewdly illustrates how media savvy can turn a fledgling protest into an international cause célèbre.
  20. Polar
    The film’s horniness and amorality, a slap in the face of fanatically cautious contemporary mores, might’ve been more shocking if it weren’t placed so firmly in quotation marks.
  21. I'm Not Here
    Throughout, J.K. Simmons invents the film with a primordial physicality of loneliness and self-loathing.
    • 72 Metascore
    • 63 Critic Score
    East of Eden
    Even viewers who acknowledge Kazan’s lack of visual imagination usually concede that nobody got better performances out of actors, but this last vestige of his reputation is in real need of examination.
  23. Ask Dr. Ruth
    At its best, the film is a testament to how Ruth Westheimer’s practiced decency was literally a saving grace during the Reagan era.
  24. Funan
    There are hints that the film will scale itself to the broader historical context of this era, but the screenplay never elaborates on the ethnic strife the undergirds the Cambodian genocide.
  25. Girls Just Want to Have Fun
    But even from an objective viewpoint, Girls Just Want to Have Fun isn’t really a bad film, at least not in the ways in which we tend to define bad films. The acting is more than competent, there’s not much glaringly bad dialogue, the humor is inventive, and the song-and-dance is engaging.
  26. The Changeover
    It’s this carefully managed equilibrium between the inherent preposterousness of its mystical milieu and the convincing emotional reality of Laura’s journey that ultimately makes The Changeover, for all its muddled mythos, a lively and engaging excursion into an unusually naturalistic world of magic.
  27. The Boy Who Harnessed the Wind
    Chiwetel Ejiofor announces himself as a sensitive, shrewdly restrained filmmaker with his quietly assured directorial debut.
  28. The Dirt
    Like most biopics, The Dirt crams so many events into its narrative as to compromise the sense that these are real characters in the here and now.
  29. Someone Great
    The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman; surely it’s no coincidence that a James Joyce poster hangs in the background of one scene.
  30. Big Time Adolescence
    The film is at its weakest when it has to do drama, since the fallout of Mo and Zeke’s actions feels perfunctory and tossed-off in the rush to an ending, a hasty come-down after the proverbial party.
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