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. Sleight
    Sleight never shows much interest in exploring how blackness can inform its genre's tropes.
  2. On Chesil Beach
    The film’s imaginative daring springs from its willingness to render repression sexy, even if it will prove to be the seed of a young couple’s dissolution.
  3. All the Light in the Sky
    In Joe Swanberg's disaffected little film, the drama is never explicit, or even fully conscious.
  4. Things Will Be Different
    In many ways, the film feels like a micro-budget rendition of Tenet, as our heroes discover that they’ve been caught in a “vice-grip” between past and future that functions much like that film’s famous “temporal pincer.”
  5. Grafted
    Grafted’s biggest problem is that it loses all momentum once the face-swapping kicks into motion, meandering along with no real sense of rising danger or ensuing consequence as the baton is passed from one victim to the next.
  6. The Rental
    Dave Franco has a mighty command of silence as a measurement of emotional aftershock.
  7. Warriors of the Rainbow: Seediq Bale
    There's something to be said about a two-and-a-half-hour war epic that manages to make each of its countless decapitation scenes feel earned, even called for, in the moment.
  8. Seven Veils
    The film’s pleasures are ultimately more textural and academic than those of Tár.
  9. Wish You Were Here
    From the opening montage alone, it's clear that Australian director Kieran Darcy-Smith plans to play his cards close to the vest in this maddeningly underwritten thriller/domestic-drama hybrid.
  10. Cuckoo
    One may wish that the absurdity of the conceit had been matched by a bit more irreverence in the script and audacity in the imagery.
  11. The Monkey
    The mayhem that the monkey doles out makes The Monkey closer in spirit to Evil Dead than Final Destination, as the film is less a Rube Goldberg contraption of overdesigned chaos than it is a Looney Tunes-esque spectacle of quick and dirty violence that hits like a punchline.
  12. The Best Exotic Marigold Hotel
    The film is home to some unique redeeming factors, but it panders to viewers by diluting its lesson, which teaches that some comfort zones can only be truly abandoned on the other side of the world.
  13. The Bad Batch
    Ana Lily Amirpour has learned a few lessons from QT about the disreputable joys of blending kitsch and ultraviolence.
  14. Bad Milo!
    It's fair to say that a filmmaker is thinking outside of the box when he or she stages a scene in which an ambulatory hemorrhoid tears a guy's cock off with its teeth and swallows it.
  15. Never Goin' Back
    Writer-director Augustine Frizzell's film is funny and surprisingly tender, if at times frustratingly uneven.
  16. Rubble Kings
    It fails to go deep enough, suggesting an appetizer offered as an opening to an ultimately unserved meal.
  17. On the Map
    It captures how sports can bring wholly disparate people together to accomplish feats that change the destiny of nations.
  18. I Touched All Your Stuff
    A documentary whatsit acutely aware of the inherent performance people put into social discourse to maintain appearances.
  19. Lamb
    Ross Partridge seems flatly fascinated by Lamb’s pathology without trying to understand its formation from environmental factors.
  20. Lucy
    Vulgar auteurist Luc Besson finally commits wholeheartedly to his decades-long preoccupation with waifish young women discovering their inner Shiva, spinning the concept out to its most delirious possible extremes.
    • 62 Metascore
    • 75 Critic Score
    Major League
    Comedy is the lasting virtue here—and more specifically what veteran screenwriter Ward (The Sting, Sleepless in Seattle) got out of a solid comic framework to make Major League continue to work beyond its odd collection of characters and a very specific setting.
  22. Hello I Must Be Going
    Thanks to Melanie Lynskey's performance, the movie feels like a believably worked-out, sympathetically presented study in thirtysomething uncertainty.
  23. Apostle
    The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
  24. Touched With Fire
    The film is a thinly dramatized series of arguments against, then ultimately in favor of the medication of bipolar disorder.
    • 62 Metascore
    • 75 Critic Score
    We Are the Flesh
    The film establishes a hypnotic rhythm through razor-stropped editing and a reverberant sound design that later scenes will disrupt with alarming impunity.
    • 61 Metascore
    • 75 Critic Score
    Nuit #1
    It works--quite successfully, in places--as a warming tonic against this emotional nippiness of the cinema of Canadian coldness.
  27. Eric Larue
    While the film features a strong performance from Judy Greer, it’s essentially a patchwork of broad strokes that rarely feel like they’re bringing its world to credible life.
  28. 2 Days in New York
    It keeps the entrances, exits, and misunderstandings rolling while rooting the action in emotions and character traits that are only slightly exaggerated for comic effect.
  29. Words on Bathroom Walls
    The film reeks of the extremely idealistic notions of young love that plague many a YA adaptation.
  30. Trollhunter
    Injecting some down time to intimate a vast internal life is one thing, but needlessly approximating patches of wasted time is another, and Trollhunter's dully drawn characters suggest that the latter is closer to what André Øvredal came up with.
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