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. Burn Country
    For a film that warns against believing in a mirage, Burn Country seems all too comfortable perpetuating one.
  2. Trumbo
    Like Jay Roach's Game Change and Recount, the film's patina of relative apoliticism masks (or enables) its blandness of inquiry.
  3. The Line
    The Line isn’t without its moments of genuine beauty, but it’s difficult to shake that its distinct lack of a clear story hasn’t given enough space to the characters.
  4. Human Factors
    Despite the mystery of the home invasion becoming increasingly tangential, Human Factors remains a compelling puzzle-box.
  5. The Many Saints of Newark
    The juxtapositions between backroom politicking, intimate family drama, and the occasional lurches into action often give the impression of a TV season’s worth of content crammed into two hours.
  6. Oranges and Sunshine
    The film is so careful to avoid the luridness that would seem inevitably to accompany an excavation of child kidnapping, forced labor, and rape, that the result is a plodding, overly tasteful procedural that holds up its hero as an incorruptible embodiment of goodness.
  7. The Last Five Years
    The film mostly skirts any connection to musical theater as though it were faintly embarrassed.
  8. Any Day Now
    Its most redeeming quality is that it isn't so quick to neuter its queer characters into a package-friendly "gay couple" aesthetic a la Modern Family.
  9. The Exception
    David Leveaux's film cannily incorporates elements of spycraft and sheer trash into a familiar formula.
  10. Mary Queen of Scots
    As effective as director Josie Rourke is at exposing the emotional and physical toll of reigning as queen when exploring Mary and Elizabeth's relationship, her portrait of an endless string of betrayals ends up as simply faceless and impersonal.
  11. Fightville
    Fightville's most worthwhile material tends to lie in the space between what its subjects say and what we know to be true.
    • 60 Metascore
    • 25 Critic Score
    Caroline and Jackie
    Because the whole thing feels so amateurishly improvised, Caroline and Jackie doesn't so much enter into Michael Haneke territory as slip backward, over a banana peel, into some bad-faith parody of the same.
  13. Dracula
    As Dracula wears on, its lack of focus starts to grate, while Radu Jude’s deployment of profane, disreputable dialogue and imagery starts to resemble a stylistic tic more than a genuine affront to his audience’s sensibilities.
  14. Allied
    In the film, Robert Zemeckis brings to bear his pop-epic scope in what's otherwise a claustrophobic story.
  15. (Dis)Honesty: The Truth About Lies
    Yael Melamede doesn't dwell on each of her subjects' stories beyond the condensed version that's related on screen.
  16. Streit's: Matzo and the American Dream
    Michael Levine provides a history without a real sense of individuated struggle or even singular personage.
  17. Dredd
    The story places a premium on delivering its disreputable sex-and-violence goods with a minimum of fuss or pretension.
  18. The Ghosts in Our Machine
    Jo-Anne McArthur's cause draws sharp comparisons with the never-mentioned PETA, a seemingly insignificant omission that discloses a lingering problem of willful insularity.
  19. Medusa Deluxe
    Few, if any, single-shot movies ever justify the conceit. In fact, most of them do their material a disservice through the distraction that emerges naturally from the trickery.
  20. Scream
    It’s at a certain point toward the finale that this Scream becomes almost as drearily repetitious as the reboot culture that it skewers.
    • 60 Metascore
    • 50 Critic Score
    C.O.G.
    As an adaptation of Davis Sedaris's short essay from his acclaimed 1997 compilation, Naked, it's a letdown, as it doesn't exude the pop of the author's trademark humor.
  22. American Teacher
    The movie is a curious blend of teacher-appreciation mandate and recruitment video, though it's not always clear at whom the narration's gravely spoken factoids are directed.
  23. Lightyear
    The film is a slickly produced but soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.
    • 60 Metascore
    • 50 Critic Score
    Men on the Bridge
    If director Asli Özge has said something about modern-day Istanbul, she's done it in fairly broad strokes that may be too far apart for the sake of a discernible narrative.
  25. Good Boys
    Gene Stupnitsky’s Good Boys is Big Mouth for those who prefer ribald humor about tweenage sexuality in live action, though it lacks the Netflix show’s frankness and authenticity.
  26. Ne Me Quitte Pas
    The entirety of the film seems increasingly constructed around ill-begotten attempts at dark humor.
  27. Motherless Brooklyn
    Motherless Brooklyn feels altogether too tidy, a film that revives many of the touchstones of noir, but never that throbbing unease that courses through the classics of the genre.
  28. The Whale
    With The Whale, Darren Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.
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