Slant Magazine's Scores

Select another publication »
For 7,792 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: 4,362 out of 7792
  2. Mixed: 1,496 out of 7792
  3. Negative: 1,934 out of 7792
7792 movie reviews
view
per page
  1. Homeroom
    Despite the film’s narrow scope, it’s hard to not be impressed by the political and civic engagement of its teen subjects.
  2. The Velvet Queen
    Long stretches of the film are simply mesmerizing, but both Sylvain Tesson’s written compositions and the conversation between him and Vincent Munier often lapse into clichés about the distractions and decadence of modern society.
  3. Il Buco
    The film meticulously evokes a 1961 speleological expedition, but its search for thematic resonance is frustratingly general.
  4. Lost Illusions
    Lost Illusions leans heavily on voiceover narration that, for better or worse, draws attention to its novelistic mode of its storytelling.
  5. The Hand of God
    Throughout Paolo Sorrentino’s film, the line between miracle and cosmic prank, even tragedy, is rendered indistinguishable.
  6. Belfast
    Kenneth Branagh's film understands the malleability of memory, and it embodies cinema’s ability to offer a kind of escapism, but up until its climax it plays like a retreat from reality.
  7. Mosquito State
    The film hauntingly suggests that a man’s most rational move in a rigged society is to fade away into the ecosystem.
  8. 499
    The film raises pertinent questions about Mexico’s mixed cultural heritage and the contested representation of reality.
  9. What We Left Unfinished
    Mariam Ghani’s documentary spurs audiences to consider the politics that underlies any artistic activity.
  10. The Voyeurs
    It’s hard to deny that Michael Mohan’s preposterous fable doesn’t exert the dark pull of voyeurism itself.
  11. The Feast
    The Feast makes a stab at drawing out modern, very real anxieties around wealth disparity and ecological devastation without falling back on genre tropes, asking us to consider how the land itself may come to feast on the rich.
  12. The Deer King
    The Deer King leaves one with the impression that it hasn’t given itself enough room to truly soar.
  13. The Summit of the Gods
    While the film intermittently stuns in revealing Everest’s topographical mystique, its expedition into what makes climbers tick struggles to get off the ground.
  14. Clean
    While its plot is strictly by the numbers, Clean is elevated by its stylistic flair and propulsive pace.
  15. Luzzu
    Alex Camilleri’s most significant departures from his influences take place on the level of content, but, thankfully, they strain the integrity of the neorealist framework just enough to keep Luzzu fresh, if not revolutionary.
  16. Murina
    With so much screen time devoted to portraying its main character’s complexities, the other characters remain half-developed, and to the detriment of the film’s themes.
  17. The First 54 Years: An Abbreviated Manual for Military Occupation
    The film persuasively sheds light on the grievances of the Palestinian people that have long fallen on deaf ears.
  18. Cross of Iron
    Cross of Iron would almost seem a proper mea culpa by Peckinpah for his controversial career, and the pre-Dogville closing credit sequence featuring a risible, anti-patriotic photo slideshow reveals a director still capable of new and inventive provocation tactics.
  19. The Tragedy of Macbeth
    What’s absent here is the murderous lust for power that dovetails with Macbeth and Lady Macbeth’s lust for each other, and which proves their mutual undoing.
  20. Evangelion: 1.0 You Are (Not) Alone
    There are no new explanations here, just a better packaged version of what Anno already delivered, which makes You Are (Not) Alone very attractive but fundamentally pointless.
  21. Trauma
    Trauma is both an underachieving Deep Red and an unpolished facsimile of Stendhal Syndrome, and where Tenebre invites active spectatorship, Trauma is convoluted to the point of distraction, worth savoring solely for Argento’s excesses of gore.
  22. Freeland
    At their best, writer-director Mario Furloni and Kate McLean evince a masterful grasp of storytelling that’s subtle and rich in innuendo.
  23. Kurt Vonnegut: Unstuck in Time
    The film pulls back the veil on Kurt Vonnegut to show how a gloomy dissatisfaction brooded underneath his quippy surface personality.
  24. Ambulance
    Rarely have Michael Bay’s frenzied stylistic tics been so effectively intertwined with the substance of one of his films.
  25. Dog
    Dog cannily smuggles a nuanced inquiry of a social issue under the guise of popular entertainment.
  26. The Outfit
    The Outfit is a dapper, twist-filled crime story that relies more on dialogue than gunplay to move the action.
  27. Hold Your Fire
    The film’s aesthetic approach is purposeful, echoing the us-or-them sentiment held by both groups aiming guns at the other.
  28. X
    While still intermittently thrilling as a basic retro-outfitted slasher, X ultimately comes off in a way that no porn (or horror) film should: like a tease.
  29. Speak No Evil
    Until its contrived conclusion, the film plays as a queasy satire of conditioned interpersonal behavior.
  30. The Sky Is Everywhere
    Throughout, Josephine Decker effortlessly keys her intimate and eccentric style to her main character’s complicated inner turmoil.
Page:

Top Trailers

See all »
See all trailers »