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. Bridge of Spies
    The film has a streamlined efficiency, but it feels like the work of a master who wants to please rather than probe.
  2. Brand: A Second Coming
    Ondi Timoner's documentary about Russell Brand basically gives the English comedian turned "activist" a free pass.
  3. My Golden Days
    Arnaud Desplechin tries his hand at a coming-of-age tale, and does so with equal doses of mature reflection and youthful impetuosity.
  4. Carol
    The film dares its viewers to consider that--for a couple of hours, at least--even when a thing seems too good to be true, it might not be.
  5. Nostalgia for the Light
    Guzmán creates an interesting dialectic between the different searchers profiles, uniting them under an umbrella of humanism and cautious hopefulness.
  6. The Measure of a Man
    It exhibits the spry subtlety of Jean and Luc Dardenne's films, and, consequently, it's possible that it will be similarly mistaken for a work of “naturalism.”
  7. Where to Invade Next
    As informative and passionate as he often is on screen, Michael Moore also always toes the line toward shooting himself in the rhetorical foot with his own thuggish persona.
  8. The Creeping Garden
    It's something unique for both a genre exercise and a documentary: a science-fiction film that doesn't contain an ounce of fiction.
  9. Partisan
    Ariel Kleiman fashions an erotic atmosphere of dusty sensuality that complicates our judgement of this world, but he takes shortcuts.
  10. Mountains May Depart
    It's the first segment that feels the most fleshed out, for how well it presents characters with actual lives as compared to the thinly veiled talking points of the film's second half.
  11. Microbe and Gasoline
    Microbe and Gasoline is enervating for both relishing whimsy and looking behind it to absorb the yearnings of youth and its attendant complications in all their nakedness.
  12. Jafar Panahi's Taxi
    Jafar Panahi spotlights the act of filmmaking as an act of resistance as well as a possible source of propaganda and manipulation.
    • 70 Metascore
    • 63 Critic Score
    Mia Madre
    The film is a carefully measured and satisfying, albeit occasionally deaf-tone, suite of fleeting, dispersed impressions.
  14. Deathgasm
    Director Jason Lei Howden has a flair for punchlines that are funny for reasons that are essentially impossible to describe.
  15. He Named Me Malala
    The effect of the film's animated sequences is to distance the viewer from real-life horrors--another misguided attempt at turning recent history into instant myth.
  16. Addicted to Fresno
    The film's larger points essentially fall by the wayside in the name of black comedy that's largely without genuine edge.
  17. The Lobster
    The near-surgical precision with which Yorgos Lanthimos approaches the most surreal of conceits turns out to be a double-edged sword.
  18. Shanghai
    Everything in Mikael Håfström's film is needlessly bloated to accommodate its status as an international, prestige production.
  19. The Walk
    In order to make the walk, and in order for it to matter to him, Philippe Petit has to comprehend it as real and impossible. Zemeckis teaches us the same lesson.
  20. Experimenter
    Aesthetically, the film cunningly suggests life that exists solely within an academic experiment, closed off from chaos that isn't manufactured.
  21. In the Shadow of Women
    Philippe Garrel's film uses its characters' stodgy, formal language to betray their self-consciousness.
  22. The Forbidden Room
    Its utter indulgence in esoterica paradoxically leaves it most vulnerable to the beating heart of this great artist of self-therapy.
  23. Arabian Nights: Volume 3, The Enchanted One
    Miguel Gomes combats austerity with expansiveness, leavened by doses of frivolity and scatology.
  24. Hotel Transylvania 2
    It risks offense by putting a typically Adam Sandler-ian twist on a tired familial trope, though such risks can often be the only thing enlivening forced franchise installments like this one.
  25. Western
    After the film's early optimism and speculative midsection, Western struggles to manage all the rich dramatic irony of its final half hour, perched uneasily between plot and stasis.
  26. The Intern
    Nancy Meyers is unquestionably committed to her auteurist signature of giving her female protagonists their cake and letting them eat it too.
  27. Labyrinth of Lies
    It only scratches the surface of the mass psychological wounds and trauma that the trials unleashed on the Germany psyche.
  28. The Martian
    The film goes in for the idea of texture and tics and human behavior, but there's no conviction, and no real push for eccentricity.
  29. Arabian Nights: Volume 2, The Desolate One
    It forays into satirical terrain in order to elide actual dealings with the problems at hand, so that each piece feels alternatively frivolous and weighty.
  30. Arabian Nights: Volume 1, The Restless One
    Miguel Gomes's formal talents, which include a flair for close-ups of elegantly smooth or weathered faces, transcend his soft spot for the didactic.
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