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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    • 60 Metascore
    • 75 Critic Score
    Citadel
    Citadel is stripped down and no-nonsense, fixating on Tommy's emotional and psychological struggles with an intensity that's harrowing.
  2. Goosebumps
    Some of the wittier one-liners and more affecting emotional moments feel undermined by the frenzy of chaotic excess.
  3. An Officer and a Spy
    The sum of its aesthetics, as in The Pianist, feels at once like a gritty window into history as it was and a haunting amber-trapped essence of the feeling of an age.
    • 60 Metascore
    • 50 Critic Score
    Den of Thieves 2: Pantera
    Pantera feels far more anonymous, sleeker and less outlandish, than its predecessor.
  5. Rules Don't Apply
    Warren Beatty's portrayal of Howard Hughes has the overly polished feel of an anecdote that's been told too often.
  6. Happy, Happy
    The filmmaker looks to American modes of visual and aural expression to give Happy, Happy its soul, but all her fetish accomplishes is depersonalizing her story, making a sitcom of her character's lives.
  7. Sidewalls
    Animation, motion graphics, and slow motion all pop up at some point, further splintering Sidewalls into a pandering pastiche of better films.
  8. RA. One
    But all the charm in the world wouldn't make Ra.One's sanctimoniousness seem any more genuine.
  9. The Other F Word
    Covered in tattoos and clinging to wisps of their outsider status, the men profiled here seem assured of the novelty of their dilemma, as if they were the first generation to settle into a middle-class existence after a youth spent on the fringes.
  10. Between Two Worlds
    Even when the film becomes something like a spy thriller, it never loses sight of its political themes.
  11. Rolling Papers
    It neither glorifies nor castigates pot usage, letting consumers speak for themselves without the intrusion of an omnipresent voice.
  12. Mrs. Hyde
    Although the film never allows itself to be quite so freewheeling as Bozon’s earlier work, and pales as a result, one of its pleasures is how giddily it suggests its characters finding release from the bureaucratic rigmarole in minor though often inane ways.
  13. Kumaré
    Kumaré has a premise that could've been the launching point for one of Sascha Baron Cohen and Larry Charles's satirical outrages.
  14. Benny's Video (1992)
    Benny’s Video is a smug, contemptuous, passive-aggressive attack on the dehumanizing effects of media, without even the common decency to offer shrill sensationalism to punch up its subsequently feckless, reactionary, pomo assertions.
  15. They Came Together
    What results is chaotic but ultimately focused, bound by an intense devotion to disassembling genre and narrative standards.
  16. Bad Tales
    Narration, as the film reminds us, isn’t only a diversion but a form of authority, of power, and when authority is least conspicuous, it’s often at its most insidious.
  17. Isn't It Romantic
    As the film becomes increasingly reliant on predictable narrative tropes, it evolves into the very thing it set out to parody.
  18. Norman
    Alternately maudlin and snarky, Norman just doesn't risk enough, and can be consigned to the status of what the school drama geek would call "some contemporary, obscure, teen-angst thing."
  19. The Iceman
    Michael Shannon has no interior to play with, since the film seems intent on ridding Richie of any emotion other than love for his family, and also no catharsis to build toward.
  20. The Aeronauts
    As a suspense film, it’s so sluggishly structured that it borders on the avant-garde.
  21. A Magnificent Life
    Sylvain Chomet provides only a scant sense of Marcel Pagnol’s creative inklings, such as the ideas and themes that fuel the films that he fights so vehemently to make.
  22. Little Joe
    Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
  23. Under the Silver Lake
    Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism.
  24. Went Up the Hill
    Samuel Van Grinsven’s Went Up the Hill is characterized by a starkly precise aesthetic and withholding approach to the ghost story.
  25. The Sisterhood of Night
    The film is so unusually moving and penetrating because it refuses to cloud its emotions in distancing irony, anger, or nihilism.
  26. Fast & Furious Presents: Hobbs & Shaw
    The film’s action is the most extreme encapsulation yet of Dwayne Johnson’s bombastic blockbuster work.
  27. Madagascar 3: Europe's Most Wanted
    In spite of its lazy, cookie-cutter screenplay, simple narrative mechanics are only dutifully observed to the extent that they step aside to make way for numerous flights of madness.
  28. Electrick Children
    Rebecca Thomas's debut feature is a sensible and humane exploration of youthful curiosity.
  29. Pilgrimage
    The film remains too uncompromisingly black and white as a character study and a story of the conflicts of faith.
  30. Gifted
    The grace notes are crowded out by the screenplay’s plot machinations and emotional manipulations.
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