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. A Man Called Horse
    Touted at the time of its release as a comparatively enlightened western, A Man Called Horse now looks like well-researched sensationalism—and is, admittedly, all the better for it.
  2. The Dead Don't Die
    In Jim Jarmusch’s film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.
  3. El Chicano
    Throughout, the film peddles notions of self-realization and self-actualization that feel nothing short of moth-eaten.
  4. If the Dancer Dances
    It's less of an insightful backstage documentary than a gushing, sycophantic love letter to the late Merce Cunningham.
  5. Loro
    Like most of Paolo Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
  6. Buffaloed
    The filmmakers allow their characters to learn the usual humanist lessons, in the process eliding the ramifications of their scenario.
  7. Georgetown
    It’s an occasionally amusing and insightful beltway satire that’s ultimately undone by its conventional mise-en-scène and predictable plot.
  8. Linda Ronstadt: The Sound of My Voice
    It isn’t long into the film when the hagiographic soundbites from famous interviewees become the dominant mode.
  9. In the Aisles
    By subverting the impulse to indulge a winning romance between its two bright European stars, In the Aisles insists on the dignity of its appealing but rather thin characters.
  10. Judy
    Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
    • 60 Metascore
    • 50 Critic Score
    Matthias & Maxime
    Xavier Dolan’s characters are of such broad definition that it’s impossible to regard them as anything other than aesthetic objects.
  12. Young Ahmed
    The Dardennes maintain a distance from Ahmed as a way of celebrating their refusal to reduce him to any easy psychological bullet points.
  13. Invisible Life
    Only rarely does Karim Aïnouz allow for loopholes to refreshingly emerge from the film’s stylistic deadlock.
  14. Bull
    Director Annie Silverstein tries to enrich the tropes of her class-conscious buddy scenario by canceling them out.
  15. On a Magical Night
    Christophe Honoré deposits all his chips on the comedic premise at the expense of character study and gravitas.
  16. Joan of Arc
    Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.
  17. The Misfits
    A perplexing misfire more than a complete dud, The Misfits‘s true legacy remains in the personal histories of those involved with the production rather than in the far more exceptional careers of the artists who brought it to its dull fruition.
  18. John Wick: Chapter 4
    In the gradual development and expansion of the Wickaverse, the filmmakers seem to have lost the thread of what makes the first and, at times, second film in the series work so well.
  19. Our Mothers
    Around his main character, writer-director César Díaz builds a complex but unpretentious interrogation of national belonging.
  20. Onward
    While Onward begins as a story of bereavement, it soon turns to celebrating the payoffs of positive thinking.
  21. Vita & Virginia
    The film frequently falls back on the stately demeanor of countless other historical biopics and period pieces. Read our review.
  22. The Hunger
    Scott’s film scarcely has its pulse on the encroaching conservatism of the nation. In the end, it’s just a shallow lesbian fantasy so aggressively spit and polished as to suggest a 96-minute White Diamonds commercial. Of course, that’s not to say that it isn’t fun.
  23. Into the Ashes
    Aaron Henry is prone to pulling back from any moment that might give greater depth to his revenge tale.
  24. The Other Story
    Through this endless string of undercooked subplots, Avi Nesher’s film continually trips over itself.
  25. This Is Not Berlin
    Hari Sama never quite manages to seamlessly sync the film’s anti-bourgeois political commitments to its soap-operatic register.
  26. The Hunt
    The film was almost canceled for being too partisan, so it’s ironic to discover that it’s practically apolitical.
  27. Paradise Hills
    Alice Waddington’s sci-fi fantasy never finds a cohesive story wrapper for its themes.
  28. Eternals
    At once bloated and rushed, Eternals suffers from frequent lurches in tempo that dispel its occasional moments of tranquil thoughtfulness.
  29. Just Mercy
    In a time when awareness and acknowledgement of racial bias and extrajudicial measures by law enforcement in America is at its most widespread, such scenes feel condescendingly pitched to an unconverted audience of the imagination.
    • 51 Metascore
    • 50 Critic Score
    The Song of Names
    In the end, the film is unable to bridge the gap between the emotions it elicits and the messages it imparts.
Page:

Top Trailers

See all »
See all trailers »