Slant Magazine's Scores

Select another publication »
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
view
per page
  1. Mission: Impossible – Fallout
    As in Rogue Nation, Fallout‘s action scenes are cleanly composed and easy to follow, and so abundant as to become monotonous.
  2. A Wrinkle in Time
    The film may involve the instant movement among unfathomable distances and the shattered limits of space and time, but it’s only Storm Reid's character who feels multidimensional.
  3. Railroad Tigers
    Despite its energetic, intricately climax, Railroad Tigers is at its most entertaining when merely observing Chan’s smaller movements.
  4. The Belko Experiment
    The film's characters are stock types without enough satirical texture to fulfill their function in the narrative.
  5. Accidental Courtesy: Daryl Davis, Race & America
    The film is a debater with some interesting points to make but no overall argument to contain them.
  6. The Crash
    The film may be too preposterous to take seriously, but at least writer-director Aram Rappaport trains his sights on the right enemies.
  7. Manifesto
    The film’s visceral pleasures often work at cross purposes with the cerebral message of the manifestos.
  8. Leap!
    The film’s careful attention to detail in the animation is continuously undermined by a formulaic plot and anxious pandering to contemporary sensibilities.
  9. Suntan
    Argyris Papadimitropoulos struggles to lift his material out of a downbeat mode of cringe comedy.
  10. Don't Knock Twice
    The film's storylines fail to inform or intensify each other in any theme-deepening or character-developing ways.
  11. Wonder
    The film has an almost pathological need to ensure that everything turns out well for every single character, while at the same time eliding any truly difficult issues.
  12. Murder on the Orient Express
    Once the film gets to the Orient Express, it's as if Kenneth Branagh is always itching to get off of it, even having Hercule Poirot at one point look over a list of names while standing atop the train for no discernible reason, except perhaps to enjoy the way the sun peeks out between two distant mountain peaks.
  13. The Other Half
    The film's emotional resonance is consistently stifled by excessively gloomy aesthetic and stylistic tics.
  14. Dean
    One has to wade through a lot of eye-rolling comic marginalia to get to the film's pained beating heart.
  15. Paris Can Wait
    The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.
  16. Churchill
    The film simplifies Winston Churchill's legacy for the dubious purposes of narrative momentum and emotional lift.
  17. Landline
    Heroin is to Landline what abortion is to Robespierre's Obvious Child: a dangerous little variable planted to strategically unsettle the pervading cutesiness.
  18. Beach Rats
    Beach Rats is most compelling when it puts a self-aware focus on Harris Dickinson’s sculpted male figure.
  19. Beatriz at Dinner
    Despite its gestures toward nuance, the very broadness of the dichotomies in the film prove to be its undoing.
  20. Crown Heights
    The film plays like a human-interest story in which all of the humanity has been gutted in favor of deadening narrative efficiency.
  21. Dayveon
    Shot in 4:3 with sliver-thin depth of field and a lush palette of swampy greens, Amman Abbasi's film is largely predicated on the idea of imparting a hyperreal sensuality to a region not often depicted on the big screen.
  22. The Hero
    Sam Elliott’s calmly affecting performance is overwhelmed by a doggedly conventional screenplay that often plays like end-of-life wish-fulfillment fantasy.
  23. The Yellow Birds
    You may want for something to hold on to, but Tye Sheridan and Alden Ehrenreich slip through the fingers, both seeming uninterested and restless to move on to other projects.
  24. Wolves
    Bart Freundlich alternates somewhat arbitrarily between his various plots, leaving a lot of loose ends in the process.
  25. Marshall
    Marshall arguably intends for societal 20/20 hindsight to provide the bulk of perspective throughout.
  26. mother!
    If Black Swan was filmmaker Darren Aronofsky's fevered valentine to the artist's self-abnegating drive toward greatness, then Mother!, his loudest and most comprehensive work to date, is either a critique of or a doubling down on that impulse.
  27. 13 Minutes
    Aside from further vilifying the Nazis, the film's ideological endgame remains a bit too slippery.
  28. It Comes at Night
    The film’s minimalism is rigorous, but its every moment of barebones craftsmanship is accompanied by plodding drama and an unsustainable heap of unanswered questions.
  29. The Ticket
    The Ticket abandons the potentially complex web of drama it initially sets up and moves toward a limp, shallow critique of superficiality itself.
  30. Final Portrait
    As seen through James Lord’s eyes, the dramas and passions on display throughout the film come off as melodramas and grotesqueries.
Page:

Top Trailers

See all »
See all trailers »