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. Sweet Virginia
    Sweet Virginia doesn’t have much of a point, as its characters are reductive variables in an inevitable equation of carnage.
  2. The Divine Order
    The film's performances and narrative flounder to strike the right balance between comedy and drama.
  3. Kill Switch
    Dan Stevens navigates the film’s literal and thematic alleyways with the same enthusiastic befuddlement that convinced many to soldier through Legion‘s more impenetrable stretches.
  4. The Glass Castle
    As in Destin Daniel Cretton’s previous feature, Short Term 12, the oscillations between sociological horror and misty-eyed sentimentality call attention to how meticulously the film arranges its emotional punches.
  5. The Limehouse Golem
    Initially colorful, the script’s lurid and overripe dialogue eventually grinds the film to a halt.
  6. The Square
    While Ruben Östlund’s mastery of visually amplifying social unease is still very much intact, he’s partially undone here by his own thematic ambition, which, in scene after exquisitely staged scene, threatens to put too fine a point on otherwise thrillingly indeterminate situational comedy.
  7. Apostle
    The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
  8. Breathe
    The film is an easily digestible replica of the truth, bathed in honeyed cinematography and sentimentalized adulation.
  9. Raising Bertie
    The documentary mistakes its access to quotidian behaviors as evidence of the need for comprehensive educational and financial reform.
  10. Moka
    Frédéric Mermoud's film makes an elaborate pretense of honoring the traditions of the observational procedural.
  11. Cujo
    To be blunt, because there was just barely enough material in the source text to pad out the film, the filmmakers also used a lot of the stuff that worked in novel form but came off as stultifying on the screen.
  12. The Only Living Boy in New York
    As the film spirals outward from its central relationship to delve into other characters’ hidden pasts, the story becomes too unwieldy and fragmented for the audience to develop a comprehensive understanding of Callum Turner's Thomas or his personal evolution.
  13. Back to Burgundy
    Cédric Klapisch correlates wine’s complex arrangement of flavors to the complexity of memory itself, which, it should be said, is the most nuanced of the filmmaker’s wine metaphors.
  14. I Do... Until I Don't
    It’s hard to tell who’s being lampooned and who’s being treated with sincerity at any given point.
  15. False Confessions
    The film is a trim farce with no blood flowing under its skin, as it’s all construction, setup, and payoff.
  16. The Persian Connection
    Daniel Y-Li Grove adeptly creates an icy, über-hip atmosphere of sleek clubs, pulsating synths, and woozy opium trips, a style which has the unfortunate effect of draining much of the cultural specificity from his story.
  17. Chaos Walking
    Beneath its perfectly entertaining surface, the film is a mess of contradictions that fails to live up to its own potential.
  18. I Feel Pretty
    Rather than pointing the finger at society for inducing insecurity in women, I Feel Pretty suggests the onus is on women to change their attitudes.
  19. There's Always Vanilla
    Unfortunately, the haphazard, showy cross-cutting between Laine’s to-the-camera narration and the flashbacks (sometimes to scenes he couldn’t possibly recollect) do little to hide the fact that Romero, like his aimless protagonist, seemingly couldn’t care less.
    • 68 Metascore
    • 50 Critic Score
    Professor Marston & the Wonder Women
    Throughout, internal conflict becomes external, and the passions and irrationalities of human emotion are condensed into explanatory dialogue.
  21. I Dream in Another Language
    Just as the director seems to be settling in to tackle some heady ideas, the screenplay’s stale narrative complications instead overtake the film.
  22. No Time to Die
    This Bond’s overall arc from modishly merciless killing machine to aging assassin with the familial feels comes off as a treacly sop to psychological complexity.
  23. Den of Thieves
    Den of Thieves displays a reverence for the taut and moody tension-building tactics of Michael Mann's Heat, but without a single compelling character or backstory to speak of, it's unable to bring even a modicum of emotional resonance to action.
  24. The Force
    Though initially compelling, Peter Nick's documentary is fundamentally without a clear perspective on its subject.
  25. Film Stars Don't Die in Liverpool
    The film shows no interest in the inner workings of a relationship that’s defined by unusual circumstances.
    • 63 Metascore
    • 50 Critic Score
    Romancing the Stone
    Directed by an unimaginative Robert Zemeckis three years after Raiders of the Lost Ark, it uses Steven Spielberg’s Indiana Jones franchise as the template through which to bolster Douglas’s public machismo.
  27. Gerald's Game
    Mike Flanagan is an un-ironic humanist, which is rare in the horror genre. And this admirable quality trips the filmmaker up in the second half of Gerald's Game, which pivots on Jessie learning to stand up to diseased masculinity.
  28. The Omen
    A bald-faced lamprey hitching its razor-tipped maw on the chassis of The Exorcist, The Omen’s Sunday-school parable of gothic Cathsploitation comes twice as thick and thrice as pious.
  29. Gaga: Five Foot Two
    Far from seeming like a strategic element created to define Lady Gaga's reinvention, the documentary instead feels like a natural outgrowth of it.
  30. The Teacher
    There's a Tarkovskian layer of social despair in the web of corruption joining the child and the adult, the bedroom and the nation.
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