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. The Line
    The film is most interesting when observing the subtler power dynamics at play within frats.
  2. Fremont
    The film has the ethereal feel of a half-remembered, mostly pleasant dream.
  3. Saw X
    The film mostly makes you wish that a Saw film would finally let Amanda be the one that audiences worship.
  4. American Fiction
    Without spoiling its increasingly ludicrous (and ludicrously believable) escalations, American Fiction ultimately gets off scot-free clinging doggedly to the middle ground.
  5. Rustin
    Organizing is thankless work, and even though the film, like others in its lineage, functions as an ode to the unsung workers for the revolution, it only turns that tedium to spectacle, rarely willing to truly think about organizing as, well, boring.
  6. White Heat
    White Heat’s ultimate message: love’s a bitch…even crypto-incestuous love.
  7. Totally Killer
    It might not be quite as incisive a piece of genre dismemberment as Wes Craven’s Scream or Drew Goddard’s Cabin in the Woods, but it has a lot of fun poking at the tricks and tropes of slasher movies all the same.
  8. The Caine Mutiny Court-Martial
    In its own way, the film is as suitable a final work as a culminating magnum opus.
  9. The Bikeriders
    The sheer exuberance of the story and the stylistic brio of Jeff Nichols’s direction often compensate for the film’s lack of authenticity.
  10. All of Us Strangers
    Andrew Haigh’s film always feels perched on the precipice of unlocking a deeper register.
  11. Origin
    Thanks to Aunjanue Ellis-Taylor’s unflappable performance, the theories that Isabel Wilkerson laid out in her book emerge with an emotional clarity that can be forceful, but the film’s often inelegant, choppy structure also works against that clarity.
  12. Green Border
    The journeys that Jan and Julia undergo feature such obvious narrativization that they cannot help but feel a bit out of sync with the more observation segments featuring the refugees.
  13. Memory
    The film reveals itself as a prototypical yet surprisingly tender love story between two damaged people re-learning how to move through a world that’s unable to adequately support them.
  14. Wildcat
    By shooting the fiction sequences with the same dreamy fish-eye unreality as the scenes showing O’Connor’s real life, the film blurs the line between the two until it’s almost nonexistent.
  15. They Shot the Piano Player
    Unlike, say, Richard Linklater’s Waking Life, which takes advantage of rotoscoping to lend a unique style to the animation depending on who’s talking and about what, They Shot the Piano Player aims for more stylistic continuity than one would expect, given the free-wheeling soundtrack.
  16. Sleep
    Jason Yu’s film may not reach its full potential, but it offers a devious commentary on the all-too-human desire for easy explanations.
  17. Sing Sing
    In its depiction of actors flourishing through artistic struggle, Sing Sing ultimately argues that the most effective liberation happens through the freeing of the body as well as the soul.
  18. Mean Girls
    If this Mean Girls thrives too much on its relationship to the original, more tribute with songs than independent adaptation, its enjoyability is also a testament to the original’s staying power, as well as to Fey’s decades-long faith in the recyclability of her own material.
  19. Crumb Catcher
    Chris Skotchdopole’s feature debut is a tantalizing mix of the absurd and the mundane.
  20. The Letter
    Like Frankenstein’s monster in the Universal horror classics, The Letter keeps its prize creature too long in the shadows. But a Davis movie cannot withstand scrutiny without her, and even a bad Davis movie where she’s hamming and mugging and even humiliating herself is more fun than practically no Bette at all.
  21. Your Lucky Day
    The film coasts far on the pleasant surprise of some sharp plotting.
  22. Lisa Frankenstein
    Even as the film revels in violent, necrophiliac delights, the dialogue keeps everything grounded with its humor.
  23. Out of Darkness
    Shot in the Scottish Highlands, Out of Darkness draws on the eerie atmosphere of a place that still feels ancient and steeped in mystery.
  24. Inside Out 2
    The film’s visual complexity isn’t matched by the actual journey the core emotions take back to the forefront of Riley’s mind, which can’t help but feel like a more convoluted retread of the first Inside Out’s abstract buddy comedy.
  25. Chicken for Linda!
    However pleasurable and pretty Chicken for Linda may be in its individual scenes, it doesn’t so much achieve harmony through its balancing of contrasting elements as it fully surrenders to childlike whimsy.
  26. Kung Fu Panda 4
    The film is a good time, and it doesn’t exactly betray any of Kung Fu Panda’s strengths, but it also exhibits the telltale signs of a series struggling to justify its existence.
  27. Love Lies Bleeding
    In the end, it’s a memorably girthy, if not evenly muscled, ode to the treacherousness but ultimate value of romantic love.
  28. Megalopolis
    If Megalopolis, as many speculate, marks the end of Coppola’s career as a filmmaker, it flourishes in that finality, having held back or compromised nothing.
  29. MaXXXine
    First with X, then with Pearl, and definitively with MaXXXine, West has buried his unique style and forward-thinking vision under an astroturfed surface of compulsory cinematic references and cliché cultural signifiers.
  30. Rebel Ridge
    Rebel Ridge never rises to the panic-infused heights of its opening, but Jeremy Saulnier is still able to maintain a baseline of oppressive tension as we watch a man navigate the deep-seated corruption of a sundown town.
Page:

Top Trailers

See all »
See all trailers »