Slant Magazine's Scores

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:
7779 movie reviews
  1. At its best, the film demonstrates that no art is more political than that which depicts the lived experience of the oppressed with accuracy, empathy, and moral clarity.
  2. Jamie Sisley’s film looks at its serious subject matter through a maudlin lens.
  3. Felix Van Groeningen commendably sustains the story's profound sense of irresolution: abuse-rehab-relapse, abuse-rehab-relapse, abuse-rehab-relapse—an endless cycle of teeth-gritted optimism at best, soul-deadening dashed hopes at worst.
  4. Tim Burton’s belated sequel to 1988’s weird, wild, and hilariously macabre Beetlejuice abounds in morbid, nauseating delights.
  5. In style as in content, it offers neither the granular detail of more subtle period pieces nor enough of Tim Burton's spirited eccentricity to register as anything other than what one character derides as "that representational jazz."
    • 62 Metascore
    • 63 Critic Score
    Goodrich is a moving and warmly humanist story of a vaguely unseemly, mostly harmless guy trying to be a better person.
  6. As much as the film is primarily a genre workout for director Kevin McDonald, the script makes room for a tough-minded, psychologically corrosive depiction of vengeance.
  7. An ostensible Danish "Hangover" that more closely resembles "Two and a Half Men" with nudity and unexpurgated dick jokes.
  8. The film’s intimacy is as precise as its intellect is vague.
  9. Sadie remains a clear-eyed portrait of maternal love, teenage turmoil, and the singular type of tight-knit bonds formed, out of necessity in many cases, in low-income communities.
  10. The makers of this rescued-footage documentary ultimately understand the power of its subjects' personalities.
  11. The Children Act stages the clumsiness of belated domestic confrontations with the very coldness that’s kept its characters from having discussed their emotions for decades and from having had sex for almost a year.
  12. Every creature here that's intended to burrow themselves into the audience’s nightmares are less wonders of imagination than of size.
  13. For all its references to the show's history, the film never panders. It's an evolution of the core concept as opposed to a nostalgia-tinged reproduction, and is all the better for it.
  14. It appears afraid of alienating viewers by overloading on scientific jargon, and in the process becomes too attracted to ultimately superfluous anecdotes from her subjects.
    • 62 Metascore
    • 75 Critic Score
    Nathan Adloff's Nate & Margaret is an endearing, hopeful, and quietly radical film.
  15. Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.
  16. Hud
    Remarkably dull Hud more or less plays out as a home-on-the-range knock-off of Nicholas Ray’s brilliant Rebel Without a Cause.
  17. The overriding suspense here is largely created by watching truth become negotiable, and through the small, plausible distortions of the truth that people come up with when survival instincts kick in.
    • 62 Metascore
    • 75 Critic Score
    The effortless depiction of their growing camaraderie and unconscious courtship is one of Harold and Maude‘s great charms, as Ashby and screenwriter Colin Higgins transpose fading ideology into boundless truth across a modest framework of pitch-black exposition and glowingly pastoral aesthetic touches.
  18. Primarily a vehicle for inventive and wince-inducing practical effects that best anything to be found in a 1980s-era Italian gorefest or the Saw franchise, Terrifier 3 continues the series’s trend of dotting a sparse and sinuous thread of plot with mini-masterpieces of cinematic ultraviolence.
  19. The film's educational impetus is to announce to the world that even picture-perfect Norwegians continue to pay a heavy price for the horrors of WWII.
  20. The material being offered has been edited, composed, and made sentimental with the rigor of a political ad campaign.
  21. Even as it takes pleasure in imagining the wheeling and dealing that politicos make when no one is looking, it never offers as much insight into the process by which a president is made as its premise would seem to promise.
  22. Dreams of a Life succeeds in making its point about the unkowability of the people in our lives, but there isn't quite enough substance here to fully sustain the film.
  23. Any initial gestures toward acknowledging Vinny Paz's macho egotism are eventually downplayed as the film becomes just another formulaic triumph-over-adversity saga.
    • 62 Metascore
    • 63 Critic Score
    The film isn't so much about the moral atrophy of people who refuse to come to terms with their past as it is about cosmic karma passed from fathers to sons like an ancient curse.
  24. Director Blair Erickson surely has style to burn, even if he oftentimes betrays his atmospheric shorthand and gets cold feet at the most inopportune moments.
  25. Brian Crano is as skittish as his protagonists are about the particular contours of their dilemma. To put it bluntly, Permission is a sex film without the sex.

Top Trailers