Slant Magazine's Scores

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For 7,792 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 6.2 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: 4,362 out of 7792
  2. Mixed: 1,496 out of 7792
  3. Negative: 1,934 out of 7792
7792 movie reviews
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  1. The Boy
    Craig William Macneill's film is a sporadically frightening slow burn with a fatally overlong fuse.
  2. Demolition
    It takes its literalism to such an extreme that, at points, it's difficult to determine whether or not the film is operating with a semblance of irony.
  3. Zipper
    It wants for a keener vision of corrupted power, but at least Mora Stephens navigates her main character's sudden slew of infidelities without banalizing them.
  4. Jurassic World: Fallen Kingdom
    J.A. Bayona's gothic flourishes suggest opioid hallucinations, and they're a welcome escape from the doldrums of the writing, but they seem at odds with the rest of the film.
  5. Freeheld
    The filmmakers, for better and for worse, stay out of the actresses' way, as Freeheld's artistry is so unadorned that the performances somehow feel more naked as a result.
  6. Misunderstood
    The film is only slightly dependent on the self-pity that informed Asia Argento's last effort, The Heart Is Deceitful Above All Things, but it feels similarly airless.
  7. Goon: Last of the Enforcers
    Jay Baruchel's Goon: Last of the Enforcers faces an uphill climb that's inherent to retreads, as it's almost impossible for the film to honor its predecessor without lapsing into contrived and preordained formula.
  8. Homme Less
    Thomas Wirthensohn frequently sinks into dully positing Mark Reay as something close to the pinnacle of human integrity.
  9. The Falling
    The film all leads to a melodramatic climax that wraps up the main character's explosive acting out in a too-neat package.
  10. Rosenwald
    Director Aviva Kempner profile of Julius Rosenwald suggests a 60 Minutes segment stretched to feature length.
  11. What Our Fathers Did: A Nazi Legacy
    The conclusion suggests the film exists to affirm the preconceived desires and perceptions of its makers.
  12. Mustang
    The film punctuates the sisters' confinement with various episodes united by their contrivance.
  13. Race
    This is a complication-smoothing take on Jesse Owens's elegant riposte to Hitler's racism at the 1936 Berlin Olympics.
  14. Home from Home: Chronicle of a Vision
    For all of its evident toil in recreating historically accurate environments and researching the precise conditions in varying regions, it has little force as a work of cinema.
  15. Where to Invade Next
    As informative and passionate as he often is on screen, Michael Moore also always toes the line toward shooting himself in the rhetorical foot with his own thuggish persona.
  16. My All American
    All of the film's nuances are ultimately negated by the its relentless canonization of its subject.
  17. Florence Foster Jenkins
    The film champions coddling people like Florence Foster Jenkins and treats critical thinking as the enemy.
  18. The Family Fang
    There's real texture and emotional heft to the central relationship between the siblings, but that's thanks more to the actors than the script.
  19. High-Rise
    The film's notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
    • 73 Metascore
    • 50 Critic Score
    The Clan
    The Pablo Trapero film's parallels are drawn so bluntly that they lose all suggestive force, since there's little left to suggest.
  21. Evolution
    The film interprets itself, offering an essay on rape and gender fluidity that locks us out of the cognitive process of digesting it.
  22. A War
    Tobias Lindholm stages his claims through clunky dramaturgical scenarios, with the seams exposed at every turn.
    • 81 Metascore
    • 50 Critic Score
    The Big Short
    Its fourth-wall-breaking wags a finger at the perceived facile nature of celebrity-driven mass culture even as it ultimately condescends to audiences.
  24. Reversion
    It may look like a dream, but it plays like someone reading a congressional report on corporate finagling out loud.
  25. Heist
    Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
  26. Extraordinary Tales
    It offers a CliffsNotes encapsulation of Edgar Allen Poe's most enduring works for viewers unacquainted with them.
  27. A Monster with a Thousand Heads
    The politics of the film are consistently muddled by director Rodrigo Plá's conspicuous formal choices.
  28. Steve McQueen: The Man & Le Mans
    The film forsakes all ambiguity regarding McQueen's psychology by stubbornly defining him as a determined, charismatic womanizer.
  29. Darling
    The film's aesthetic is striking, but feels almost intangibly derivative, most obviously suggesting an austere cover of Repulsion.
  30. #Horror
    A blunt satire of the dehumanization inherent in social media that also gets off on said detachment.
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