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 Emperor's New Clothes
    It's more about hyping Russell Brand as a constituent for the people than locating the means for sustained economic transformation.
  2. 45 Years
    It's the summative effect of the story's modest exchanges, unspooling one after another in long, tranquil shots, that lends the film its profound sense of loss.
  3. Son of Saul
    The film's meticulousness orchestration only calls attention to its dubious sense of purpose, which lies beyond human subjectivity.
  4. Body
    The filmmakers exhibit no interest in watching the story's central wolves wiggle out of the trap they've potentially set for themselves.
  5. In the Heart of the Sea
    The narrative is helplessly adrift, a yarn that extols vague grit and determination with no discernible through line.
  6. The Tainted Veil
    The filmmakers refuse to promote a political agenda of their own in order to let the varied convictions of others foster a necessary dialogue.
    • 81 Metascore
    • 50 Critic Score
    The Big Short
    Its fourth-wall-breaking wags a finger at the perceived facile nature of celebrity-driven mass culture even as it ultimately condescends to audiences.
  8. Joy
    David O. Russell proposes that there may be no real barrier between the caustic worldview he wears and the sense of childlike wonder he sells.
  9. Don Verdean
    If the film is any indication, Jared and Jerusha Hess remain committed to clotting up the screen with ostensibly charming "eccentricity."
  10. Boy and the World
    One wonders how receptive young audiences should be to a film that puts its storytelling secondary to its message-making.
  11. Stinking Heaven
    As in Nathan Silver's previous work, what could have been a rote retread of Pasolini's Teorema blossoms into a study of factional identity and power dynamics.
  12. The Revenant
    What pushes the film, at long last, into the icy river, is its very design, as a monument to slick, mercenary grandeur.
  13. Krampus
    At the center of the film is a conservative lesson that asks us to unquestioningly abide by society's capitalistic impulses.
  14. Every Thing Will Be Fine
    The premise, of a terrible event unleavened by the easy out of someone being at fault, should be prime fodder for Wim Wenders's brand of poetic regret.
  15. Chi-Raq
    A Spike Lee joint in the urgent sociopolitical register of Radio Raheem's boombox—a call to arms that's also a call to disarm.
  16. The Letters
    A brain-dead slog whose bankrupt aesthetics ironically soil the very legacy it purports to aggrandize.
  17. The Lady in the Van
    The film's annoying glibness is neatly summarized by the line: "In life, going downhill is an uphill job."
  18. Bikes vs Cars
    Director Fredrik Gertten's Bikes vs. Cars is passionate but contradictory, a frustrating combination for a documentary that utilizes admittedly interesting data as a pitch to wean our car-crazed world off excessive driving.
  19. Dementia
    The film doesn't quite earn Jones's performance, but it engenders considerable goodwill for allowing him to give it.
  20. My Friend Victoria
    The film disappoints in its refusal to allow for deeper articulations of racism beyond, well, visible and verbal displays of racism.
  21. The Wannabe
    The film is less a revisionist take on the circumstances of John Gotti's 1992 indictment than a tedious love child of Bonnie and Clyde and Goodfellas.
  22. Hitchcock/Truffaut
    A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
  23. Youth
    As ever, Paolo Sorrentino ironically cuts the legs out from under his protagonists' wistfulness with grotesquerie.
  24. Macbeth
    Throughout, director Justin Kurzel's stagey pretensions clash with each of his aesthetic choices.
  25. Theeb
    Theeb insists on the importance of preserving cultural difference against the totalizing vision of racial and religious hegemony.
  26. Victor Frankenstein
    Victor Frankenstein is the movie version of a carnival sideshow, all smoke and mirrors, presenting a litany of human freaks and animal monstrosities to distract from the superficiality of its psychological and intellectual concerns.
  27. The Good Dinosaur
    The main character is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency.
  28. Creed
    One of the Ryan Coogler film's greatest traits is its reticence, its refusal to say 10 words when two will do, or to say one word when silence says it all.
  29. Janis: Little Girl Blue
    It grounds us so effectively in Joplin's emotional realm as to partially rekindle the social transcendence that her voice must have represented for its owner.
  30. The Danish Girl
    In so clearly viewing Lili through the lens of 21st-century political correctness, the film only blunts the resolve of her struggle.
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