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. Warm Bodies
    It flouts convention in a number of ways in service of its genre-mash-up agenda while still contributing something original to the tradition of the zombie film.
  2. Crawl
    The film is more straight-faced than Alexandre Aja’s prior work, trading absurd kills for narrow escapes from gaping alligator jaws.
    • 60 Metascore
    • 50 Critic Score
    Matthias & Maxime
    Xavier Dolan’s characters are of such broad definition that it’s impossible to regard them as anything other than aesthetic objects.
  4. McFarland USA
    If there's a general air of emotional authenticity woven throughout all this garden-variety, faith-in-family hokum, it's in the racing scenes.
  5. Bride Flight
    It's all very tastefully handled by Ben Sombogaart, shot in plenty of staid compositions whose denuded color scheme suggests a historical remove, but it rarely generates any heat, even during a pair of graphic, but not particularly erotic sex scenes.
  6. Stillwater
    Stillwater gives itself over to drastic plot twists that derail what was already a film over-stuffed with narrative incident and ideas.
  7. Magical Universe
    To varying degrees of success, it attempts to prominently display Al Carbee's creations, yet keeps undermining his art in favor of investigating his skewed relationship to everyday realities.
  8. The Nowhere Inn
    The film is elevated by funny, cleverly staged sequences, but it too often hammers the notion that fame destroys authenticity.
  9. A Perfect Day
    The film finally seems conspicuously at odds with itself, neither funny nor impassioned enough to pass as an accomplished vision of transnational welfare.
  10. Mr. Nice
    Writer-director Bernard Rose effectively conjoures an atompshere of poetic stoned-1960s British rebellion, a feeling of woozy, intoxicating possibility that will not-so-eventually be squashed.
    • 60 Metascore
    • 50 Critic Score
    Christopher Robin
    Unlike the red balloon that Winnie the Pooh follows through much of the running time, Marc Forster's film lacks lightness.
  12. Day of the Dead
    Any real zombie fan knows that political parable and decomposing cannibal corpse gore go together like peanut butter and jelly, but Day of the Dead found the subgenre’s reigning master and poet-in-residence mismanaging the proper ratios a bit.
  13. Wonder Woman 1984
    The film shows a preference for forgiveness over vengeance, which feels like an okay way to end this particular year.
  14. Ophelia
    Transforming Ophelia’s abuser into a helpful co-conspirator hardly seems like the most daring feminist reading of Hamlet.
  15. The Heat
    With the film, Melissa McCarthy definitively cements her status as a legitimate comic talent, leaving her co-star stumbling behind in her wake.
  16. Bad Times at the El Royale
    The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
  17. The Choral
    This is a historical drama with a handsome enough period setting and a couple of pleasant musical moments but whose roteness keeps it from resonating.
  18. Tomorrowland
    In Brad Bird's film, the way forward is backward, on a path that stumbles into misplaced nostalgia and dicey humanism.
    • 60 Metascore
    • 63 Critic Score
    Point Break
    In terms of Hollywood history, Bigelow's film is the perfect document of its time.
  20. Jeannette: The Childhood of Joan of Arc
    It's true that the disorientation produced in the collision of Igorrr's frenetic style-mashing and Dumont's unadorned long-take aesthetic ensures that the film feels remarkably distinct from prior cinematic adaptations of Joan of Arc's life, but it's also hard not to wonder how this particular story might have played without the farfetched musical conceit grafted atop it.
    • 60 Metascore
    • 50 Critic Score
    Love Is All You Need
    At times it seems as if Susanne Bier set out to create some kind of absurdist comedy, but lost her nerve somewhere along the way.
  22. Three Thousand Years of Longing
    George Miller’s film is a passionate exploration of how image-making is inextricable from storytelling.
  23. Darling
    The film's aesthetic is striking, but feels almost intangibly derivative, most obviously suggesting an austere cover of Repulsion.
  24. Dark Night
    Tim Sutton's film often surprises on the micro level, but its broader execution gives reason for pause.
  25. Over the Moon
    At its most beguiling, director Glen Keane’s animated film Over the Moon mixes the unbridled free-association of playtime with an undercurrent of barbed satire.
  26. The Last Sentence
    Though ambitiously busy, the film is also self-sabotaging and stagnant, showcasing its main character's struggles without interpreting them into a cohesive thesis.
  27. Sea Fever
    Writer-director Neasa Hardiman’s film is undone by earnestness.
  28. Mandela: Long Walk to Freedom
    A cursory history lesson with no interest in probing the deeper or more complex implications of Mandela's positions and their relationship to his country's shifting landscape.
  29. Saw X
    The film mostly makes you wish that a Saw film would finally let Amanda be the one that audiences worship.
  30. The Other Half
    The film's emotional resonance is consistently stifled by excessively gloomy aesthetic and stylistic tics.
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