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. Hope Gap
    So many grandiose tactics portend a grander revelation than the film’s otherwise low-key three-hander delivers.
  2. Military Wives
    The film seems almost content to have you forget about everything that inspired it in the first place.
  3. Don't Let Go
    Would that Jacob Estes had kept the particulars of his murder mystery as intricate as the sci-fi of his main characters’ communion.
  4. Seberg
    Throughout, the filmmakers occlude the most fascinating and potentially powerful elements of Jean Seberg’s history.
  5. Ms. Purple
    Subtlety dissipates as Justin Chon’s film grasps for something louder and more obvious.
  6. Tigers Are Not Afraid
    It never resolves its commingling of the fanciful and the mundane into a particularly coherent argument about the legacy of trauma.
  7. Hello, Dolly!
    The choreography, the performances, the set decoration, the dialogue, everything about Hello, Dolly! is played directly to the back row of the theater, which would be fine on the stage, but on anamorphic widescreen close-ups tends to be more frightening than mirthful.
    • 68 Metascore
    • 50 Critic Score
    Face to Face
    Face to Face feels scattershot and incomplete, never adequately establishing connections between characters, motivations for significant actions, or even the simple causalities of time and space.
  9. Girl on the Third Floor
    The film is loud and obvious about declaring its themes, as if to distract from their ultimate shallowness.
  10. The Woman in the Window
    The Woman in the Window never manages to transcend the impression that it’s merely being clever.
  11. Black Panther: Wakanda Forever
    Though its lugubrious and plodding narrative spins its wheels ahead of someone coming along to fill T’Challa’s shoes, Wakanda Forever does stand out for its depictions of grief.
  12. Last Night in Soho
    In the end, Edgar Wright isn’t particularly interested in taking aim at all that is dark in the zealotry that shapes a culture.
  13. The King
    If only the film made more of the curious tension between Timothée Chalamet’s Henry and Robert Pattinson’s dauphin.
  14. Waves
    This is a rare case of a film that’s stronger when it colors inside the lines than radically traces outside of them.
  15. Proxima
    The film falls back on a reductive rumination on the balance between maternal obligation and career aspiration.
  16. Synchronic
    About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes
  17. Jungleland
    Director Max Winkler truly seems to believe that he’s cutting to the heart of the boulevard of broken dreams.
  18. The Times of Bill Cunningham
    The film undermines Cunningham’s egalitarianism by linking him directly with the kind of elite snobbery and wealth fixation he abhorred.
  19. Venom: Let There Be Carnage
    The title isn’t only a promise of so much destruction to come, but also inadvertently an assurance that its most action-packed sequences will be defined by loudness, incoherence, and pointless cruelty.
  20. Tell Me Who I Am
    By focusing so narrowly on the Lewis brothers’ relationship with their mother, the film inadvertently minimizes the scope of their abuse.
  21. The World is Full of Secrets
    Graham Swon undermines our expectations of horror-movie conceits, attempting to tap the primordial manna of oral storytelling.
  22. Ip Man 4: The Finale
    The film is overstuffed with characters and subplots that ultimately have little to do with Ip Man and his legacy.
  23. James and the Giant Peach
    Though certainly not a travesty of any sort, James and the Giant Peach does strike me as the weakest thus far of Dahl’s to-screen adaptations and this mostly has to do with the problems Selick encounters with mixing the world of imagination with the real world.
  24. Wendy
    Wendy veers awkwardly and aimlessly between tragedy and jubilance, never accruing any lasting emotional impact.
  25. Betty Blue
    Indeed, the film flies by and feels weightless, like a spectacular rainbow-colored hydrogen balloon that passes out of our memory the moment we lose sight of it.
  26. Downhill
    Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
    • 69 Metascore
    • 50 Critic Score
    Tenet
    Every time that Tenet stops to speak, it only emphasizes a hollowness within: how enamored it is of its own cleverness.
  28. The Kentucky Fried Movie
    Uneven and amateurish, with a sense of vulgarity that’s now dated enough to seem downright Victorian, The Kentucky Fried Movie proves the maxim, “comedy is in the eye of the beholder.”
  29. The Conjuring: The Devil Made Me Do It
    The film apes the style that James Wan established with the original Conjuring without establishing any real identity of its own.
  30. The Lovebirds
    Once the film shifts into a broader comedic register, it no longer capitalizes on Kumail Nanjiani and Issa Rae’s gift for gab.
Page:

Top Trailers

See all »
See all trailers »