Slant Magazine's Scores

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For 7,779 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: 4,353 out of 7779
  2. Mixed: 1,493 out of 7779
  3. Negative: 1,933 out of 7779
7779 movie reviews
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  1. Bring Them Down
    Bring Them Down uncovers an organic affinity between the genre mainstay of vengeance taking on a life of its own and the force exerted by paternal tradition.
  2. Aurora
    What Puiu seems to be suggesting is that the complexities of human behavior and relationships are beyond the power of the law to comprehend, but are they also beyond the power of the cinema?
  3. Beautiful Something Left Behind
    Katrine Philp’s documentary boldly argues for a clear-eyed frankness in talking to bereaved children about loss.
  4. Split
    Split is personal and outlandish, with questionable themes, riveting plotting, somber storytelling, and elegant construction.
  5. Breaking the Frame
    Director Marielle Nitoslawaska's experimental approach sometimes wanders down uncontextualized paths and obfuscates the subject with filmic affectations.
  6. Mayor Pete
    The film’s approach is completely subsumed by the importance of the Mayor Pete persona as the means and ends of the candidacy.
  7. Echotone
    Director Nathan Christ dithers between fashioning the film as a glossing study of metropolitan personality and a virtual advertisement for the groups included.
  8. Alpha
    It reduces the domestication of wolves to a series of simplistic interactions that don’t exactly convey the difficulties of a wild animal overcoming millennia of instinct.
  9. The Hole in the Ground
    The film gradually becomes something more than a mixtape of horror gimmicks as it homes in on a frightening real-world subtext.
  10. The Crazies
    The Crazies lacks the nightmarish momentum of Romero’s best zombie flicks, but it’s no less astute with its allegorical potshots.
  11. Chef Flynn
    At times, Cameron Yates appears to be too protective of his subjects, which somewhat neuters the drama of the narrative.
  12. The Caine Mutiny
    The Caine Mutiny is not distinctive filmmaking or storytelling, and its idea of ethical debate is relying on familiar archetypes and arguments. It sure is standard, though. It’s like the well-constructed house that’s not meant to be distinctive, but was made to endure.
  13. Faces of Death
    For a film that’s so well versed not only in the genre but in its tendencies to recreate and recycle itself, it’s disappointing to see Faces of Death do so in such slavish fashion.
  14. Laggies
    To Keira Knightley's credit, she's all too willing to undercut her pretty-girl reputation by looking and acting a fool for Lynn Shelton's camera.
  15. By Design
    By forcing us to identify with its largely comatose protagonist, By Design arouses resentment in order to shake us out of torpor.
  16. The Rip
    The film's legible direction and steady escalation of tension makes for an enjoyably retro diversion.
  17. The Devil Wears Prada 2
    Befitting its image-conscious milieu, The Devil Wears Prada 2 has the aspartame fake-sweetness and zero-calorie comfort of its predecessor: It’s charming enough in the moment but you’ll be hungry again half an hour later.
  18. Free Fire
    Ben Wheatley's film reduces the modus operandi of the action movie down to its starkest elements.
  19. Keanu
    Keanu is declawed by design, but it's hard not to wonder what the cat could've dragged in.
  20. Zero Charisma
    It's a pity that it hews to sitcom-like formula rather than using this bank of knowledge and sympathy to create something more original.
  21. Beau Is Afraid
    With Beau Is Afraid, his third and easily most ambitious feature to date, Ari Aster traces, to more cosmic and absurd ends, how tragedy is birthed by, well, birth itself.
  22. A Haunting in Venice
    In the end, any attempts that A Haunting in Venice makes at connecting post-war trauma to Halloween and the ability to commune with the dead are non-committal, and the script doesn’t do enough to communicate why any of that matters.
  23. 12 Hour Shift
    The plot, geared as much for comedy as horror, is wound with efficient build-up, and its revolving-door atmosphere is consistent enough to paper over some iffy acting, baggy dialogue, and more than a few minutes of wasted real estate.
  24. The Matrix Resurrections
    Where the love story was a means-to-an-end afterthought in the first Matrix, it’s now the crux of the tale, and the emotional undercurrents are so intoxicating that it more than makes up for the relative inelegance of the action scenes.
    • 63 Metascore
    • 50 Critic Score
    Amigo
    Amigo finds John Sayles rather closer to his worst, alternating gracelessly between fleshing out the characters caught in the middle of international conflict and turning them into dots and arrows in a flowchart of historical relevance.
  26. The Nine Muses
    The Nine Muses is the kind of nonfiction film I actively hope for: a picture of intuitive, free-associational power that cuts far deeper emotionally than a dry recitation of dates and facts could ever hope to.
  27. Under Control
    Volker Sattel takes us on a blank-eyed tour of the country's biggest plants (plus a few from Austria), exposing both the tenuous balance of precision and innovation that has provided 20th-century Western society with its most controversial power source.
  28. Codependent Lesbian Space Alien Seeks Same
    Madeleine Olnek has a limited repertoire of jokes, so it's fortunate that the film, at 76 minutes, is fairly amusing, even if it's never quite laugh-out-loud funny.
  29. Keyhole
    A night of reckoning by a hoodlum in his haunted former home is a more sober and remote Freudian farrago than one expects from Guy Maddin.
  30. Player Hating: A Love Story
    One of the more intimate and revealing looks at American projects ever made; it's assured and empathetic without indulging in fashionable white guilt.
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