Slant Magazine's Scores

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For 7,772 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. The Red Turtle
    A pointed simplicity governs Michael Dudok de Wit's The Red Turtle, one that’s traditional of many survival tales.
  2. How to Survive a Plague
    Presents a cast of characters who must continue fighting, for what's at stake is the very real, very imminent threat of their own deaths.
  3. My Happy Family
    It casually lays out the domestic space where the story’s events takes place with acutely detailed cultural specificity.
  4. Chasing Coral
    What makes it play as more than just another activist doc is its focus on the power of images as a way to inspire change.
  5. Loveless
    One feels in the film's punishing bleakness a yearning for transcendence.
    • 86 Metascore
    • 75 Critic Score
    Showing Up
    Deftly, Showing Up leaves unresolved the familial, creative, professional, and interpersonal matters at its core, staying true to its vision of an artistic environment perpetually caught between modest comfort and precariousness.
    • 86 Metascore
    • 75 Critic Score
    Barbara
    Most compelling in Christian Petzold's latest is the way the filmmaker adeptly conducts his tides of Cold War paranoia.
  8. Bonnie and Clyde
    Though Bonnie And Clyde may have been conceived as a proto-European hybrid and The Graduate a California thoroughbred, the violent hemorrhage that closes the Depression-era/Vietnam-era touchstone makes as good a case as anything in filmed entertainment that American mass media operates in the declarative.
  9. I Saw the TV Glow
    The film is a mesmeric but frequently muddled exploration of transgender self-actualization.
    • 86 Metascore
    • 88 Critic Score
    May December
    The film examines real-world events through the lens of mass media with a wry humor that masks profoundly complex and painful undercurrents of emotion.
  11. Maidan
    It puts the viewer inside Maidan, allowing them to draw their own conclusions about the ideas and agendas espoused by the movement's leaders and participants.
  12. Drug War
    The film is a singularly huge, relentless, all-encompassing set piece that mutates and spasms with terrifying lack of foresight. It's all business, business, business.
  13. The Great Beauty
    Paolo Sorrentino's film is really just a huge turn-on that has the bad manners to go sour, succumbing to its own self-delusions of moral/political grandeur.
  14. Cover-Up
    Cover-Up is a sweeping, if tempered, tribute to investigative journalism, attesting to its enduring importance at a time when resources for it have substantially declined.
  15. April
    April’s frames seek to embody a dizzying span of human experience, even if Dea Kulumbegashvili occasionally strains to corral it.
  16. Vitalina Varela
    At last, Pedro Costa appears to be more interested in how people get on with life than how they keep the company of ghosts.
  17. Happening
    This period drama manages the difficult task of speaking to our current moment without being didactic or preachy.
  18. The Human Surge 3
    While its globe-trotting sense of wonder shows the joys of offline existence to be as profound and vivid as they ever were, its simultaneous sense of boundless possibility and stagnant futility recalls nothing so much as the chaotic, alienating realm of cyberspace that both birthed and shaped it.
  19. The Lost Daughter
    For a while, Olivia Colman’s expressive performance carries the film, with little narrative distraction or stylistic conspicuousness.
  20. The Big Sick
    The film is always at least gut-rumbling and keeps its humor in situations that are morose and awkward.
  21. Argo
    Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
    • 86 Metascore
    • 88 Critic Score
    Summer Hours
    It’s a testament to Assayas’s empathy that he is able to build the entirety of his drama in the distance between his principals’ forgivable self-interest and their quiet kindness.
    • 86 Metascore
    • 50 Critic Score
    The Master
    The Master is Paul Thomas Anderson with the edges sanded off, the best bits shorn down to nubs.
  24. The Wild Pear Tree
    Nuri Bilge Ceylan’s film takes a leisurely approach to narrative that’s both intensely dialogical and transfixingly visual.
  25. My Imaginary Country
    By the end of My Imaginary Country, Guzmán has still not moved past the trauma of history. Nor, he suggests, has Chile. Not yet. But he does leave open the possibility of a future not beholden to that trauma and a nation that might now be able to write a new history for itself.
    • 86 Metascore
    • 100 Critic Score
    Distant Voices, Still Lives
    Davies transcends the facile trap of misery-porn by tapping into the basic notion that could make musicals so enlivening—music as direct expression, music as emotion felt. One of the most profoundly spiritual films in recent decades.
  27. The Prison in Twelve Landscapes
    The plaintive plain-spokenness of the interviewees, the way they matter-of-factly speak of atrocity, is transcendent and intensely haunting.
  28. Aladdin
    Aladdin is ultimately less offensive than patently ridiculous, mostly because its ethnic white noise is really just an excuse for Robin Williams—as a postmodern blabbermouthed genie who grants Aladdin three wishes—to put on the most elaborate, narcissistic circus act in the history of cinema.
  29. Sentimental Value
    The film’s multi-layered structure supports a familiar but often profoundly affecting tale of intergenerational family conflict.
  30. Wheel of Fortune and Fantasy
    Ryûsuke Hamaguchi’s film is an alternately scathing, erotic, terrifying, and affirming fable of the primordial power of storytelling.
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