Slant Magazine's Scores

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For 7,778 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: 4,352 out of 7778
  2. Mixed: 1,493 out of 7778
  3. Negative: 1,933 out of 7778
7778 movie reviews
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  1. Jean Gentil
    Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
    • 64 Metascore
    • 88 Critic Score
    Soft in the Head
    Nathan Silver captures the young-adult experience, particularly the agony of first sexual pangs, in films that deftly mix beguilement and repulsion.
  3. Renoir
    A long string of picnics, portrait sessions, elaborate dinners, and countryside rituals, filtered through a svelte aesthetic pleasantness that ultimately corrodes its larger interests.
  4. Big Bad Wolves
    From a purely suspenseful vantage point, Big Bad Wolves is an efficient and effective beast.
  5. I Dream in Another Language
    Just as the director seems to be settling in to tackle some heady ideas, the screenplay’s stale narrative complications instead overtake the film.
  6. In Praise of Love
    A sniveling diatribe from a great director beginning to resemble someone's senile grandfather.
    • 64 Metascore
    • 38 Critic Score
    Bombshell
    The film is too irreverent in tone and narrow in scope to place Roger Ailes’s criminality in a larger, more meaningful context.
  8. Belle
    The film is concerned largely with intellectual horrors and portrays the fight against slavery rather neatly as a growing feeling of internal guilt that slowly turns society toward the light.
  9. Suspiria
    Luca Guadagnino's Suspiria is a funereal pseudo-realist drama about political upheaval and the violence of systems that's at odds with itself.
  10. Through a Lens Darkly: Black Photographers And The Emergence Of A People
    Thomas Allen Harris's documentary consistently takes agency away from the art itself with a litany of talking heads.
  11. Swiss Army Man
    Even as it invites snarky ridicule, the film dares you to buy into its singular earnestness.
  12. Bettie Page Reveals All
    Mark Mori goes a bit overboard in hammering home his appreciation of Bettie Page's significance, allowing the film to occasionally lapse into repetitiveness.
  13. Whitney: Can I Be Me
    It's no surprise that Nick Broomfield finds little use for the moments of unabashed triumphalism in Houston's life, as he's doggedly fixated on the humiliating swan dive.
    • 64 Metascore
    • 88 Critic Score
    Domain
    The ultimate drama of Domain becomes how long he can be a witness to her self-destruction.
    • 64 Metascore
    • 38 Critic Score
    Medora
    It feels as if it set out to be an inspirational tale about underdogs beating the odds, but instead of giving color to the story, the filmmakers presented it with black-and-white ideas.
  16. Fright Night
    One of the minor triumphs of this Fright Night remake is Farrell's coolly assured performance, a cocksure spectacle of masculine virility far more intimidating to his character's victims, male and female alike, than the razor-sharp fangs Jerry uses to munch on human neck meat.
  17. XX
    These shorts follow female protagonists as they wrestle with exclusion and implicit social standards that may or may not extend to their male counterparts.
  18. Keep an Eye Out
    Quentin Dupieux imbues a trite genre scenario with a Kafkaesque brand of comic existentialism.
  19. Ready or Not
    Only in its giddily gory finale does the outrageousness of the film's violence come close to matching that of its plot.
  20. Youth
    As ever, Paolo Sorrentino ironically cuts the legs out from under his protagonists' wistfulness with grotesquerie.
  21. The Kidnapping of Michel Houellebecq
    Even though the film takes on a more overtly fictive aesthetic after he's kidnapped, Michel Houellebecq's understated presence lends the proceedings a factual quality throughout.
  22. 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.
  23. The Whale
    When considering the best voiceover artists in cinema history, Ryan Reynolds doesn't immediately come to mind as an especially dynamic one.
  24. Toys in the Attic
    Jirí Barta's film is a disturbing through-the-looking-glass reflection of traditional fairy tales.
  25. Nasty Baby
    The film is a compelling addition to Sebastián Silva's cinema of compassionate comeuppance.
  26. Born to be Blue
    Robert Budreau strip-mines the life of an amazing musician for the purpose of mounting yet another comeback story.
  27. Before We Vanish
    On its own, this is a fun, broadly satirical alien-invasion film, more self-aware than self-serious, but its beauty, its poignancy, comes from its relationship to Kiyoshi Kurosawa's other work.
  28. The Fury
    Ultimately, The Fury is a film about pre-pubescence by a director whose work had finally reached the level of confidence reflecting a post-pubescent talent. The best of both worlds, baby, and barely legal.
  29. Enzo Avitabile Music Life
    Even if the film never transcends its subject matter, Jonathan Demme's light touch adds up to a charming portrait, only rarely fumbling into hagiography.
  30. Madeleine Collins
    Seemingly channeling the spirit of Claude Chabrol, Antoine Barraud’s Madeleine Collins is a decidedly classy throwback thriller about a seemingly humdrum character committing perverse acts of subterfuge against others.
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