Slant Magazine's Scores

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For 7,789 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: 4,359 out of 7789
  2. Mixed: 1,496 out of 7789
  3. Negative: 1,934 out of 7789
7789 movie reviews
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  1. Baywatch
    In terms of body objectification, Baywatch is an equal-opportunity exploiter, but when it comes to comedy, it's a total boys' club.
  2. Sing Street
    All traces of grit from John Carney's earlier films have been scrubbed away in favor of relentlessly crowd-pleasing slickness.
  3. The Birth of a Nation
    Nate Parker strains to control the strange and stirring complications of his subject's visionary apocalypticism.
  4. Songs My Brothers Taught Me
    The film is more taken by its own formal composition than enunciating the musical edification promised by its title.
  5. Dark Night
    Tim Sutton's film often surprises on the micro level, but its broader execution gives reason for pause.
  6. Author: The JT LeRoy Story
    Jeff Feuerzeig isn't skeptical enough of Laura Albert's explanations and rationalizations.
  7. Newtown
    Its enervated address of both mental-health treatment and gun laws receives few constructive articulations beyond a single scene.
  8. Weiner
    Josh Kriegman and Elyse Sternberg's film never discovers a greater purpose beyond its undeniable sideshow appeal.
  9. The Confirmation
    The premise is undermined by the film's occasionally dubious ethics and its tendency to soft-pedal the dangerous situations it sets up.
  10. White Girl
    It's an entertaining and unapologetic tale of female risk-taking, filled with clever camerawork, but the characters remain shallow.
  11. Blade Runner 2049
    Denis Villeneuve’s film is designed to reward the audience for recognizing references in the midst of an action pursuit, and, after an hour or so of the clipped and earnest signifying, one may find themselves nostalgic for Ridley Scott’s unforced indifference to the issue.
  12. Fatima
    The film appears to have been devised to pander to the presumptions of Western, liberal viewers.
  13. After the Storm
    The stock character types that Hirokazu Kore-eda employs across the board are pretty much open books from the start.
  14. Middle School: The Worst Years of My Life
    Unimaginatively directed and indifferently shot, the film never establishes a distinctive voice for itself.
  15. Presenting Princess Shaw
    The peculiar circumstances of the documentary necessitate more transparency than the filmmaker is willing to offer.
  16. Indiana Jones and the Dial of Destiny
    The only past that Dial of Destiny is interested in plundering is the glory of its predecessors.
  17. Lights Out
    Few horror films are as insistent about the trauma mental illness inflicts on families as Lights Out, and still fewer are so insensitive about it.
  18. The Girl in the Photographs
    The film is ultimately devoted to formula, as Nick Simon discards his jumbled meta-media conceit at around the halfway mark.
  19. The Blue Hour
    An initially intriguing attempt to splice together a gay romance and a horror film that ultimately shows little flair for either genre.
  20. Vita Activa: The Spirit of Hannah Arendt
    It reduces its historical moment to a series of vignettes and voiceovers, each evincing a curiously tone-deaf sentimentality.
  21. Unlocking the Cage
    The problem here isn't necessarily the tension between emotion and rationality, but that the doc does little to explore these dimensions as they arise.
  22. The Neon Demon
    The simmering insinuations of Nicolas Winding Refn's film eventually flower into full-on exploitation.
  23. Kicks
    It's less notable for its originality than for how dynamically it blends a few styles that ultimately prove incompatible.
  24. Streit's: Matzo and the American Dream
    Michael Levine provides a history without a real sense of individuated struggle or even singular personage.
  25. Hockney
    After a nearly virtuoso opening, it reduces passages of the painter's life into multiple montages of pop pabulum.
  26. The Take
    For a film so interested in the public's malleability, The Take isn't particularly good at controlling its own audience.
  27. It
    It cashes in on trendy retroism instead of utilizing the perspective of, to borrow from Joni Mitchell, seeing clowns from both sides now.
  28. Viktoria
    The film is ultimately stultifying because the disconnection between the various characters is so immediately accepted as such a foregone conclusion that nothing ever seems to be at stake, and the heavily horizontal imagery, though accomplished and evocative, if fussy, only evokes two states of mind: loneliness and disconnection.
  29. Bite
    Chad Archibald doesn't quite land Bite's transition over from claustrophobic character study into full-blown monster movie.
  30. Hacksaw Ridge
    This is a work of defiantly simplistic, classically structured Hollywood storytelling, and Mel Gibson takes to its hokey plot points with some gusto.
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