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. A Boy and His Dog
    The film is riddled with an unmistakably misogynistic bent, and can’t be bothered to supply one single likable soul.
  2. Earth
    With Earth, Nikolaus Geyrhalter’s visual strategy is to wow us with tangibility and data, though he doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
  3. Sylvie's Love
    The film never finds the spark that would imbue the love affair at its center with a sense of passion or urgency.
  4. Stargirl
    It comes across like yet another casualty in the long line of stories about men having their eyes opened by their angelic girlfriends.
  5. Bloodshot
    Given its hero’s imperviousness, the film’s chaotically edited action sequences tend to be devoid of suspense.
    • 65 Metascore
    • 50 Critic Score
    Young Sherlock Holmes
    As a work of fictional imagination, Holmes is simply fascinating, and Young Sherlock Holmes attempts to unlock the source of that fascination. The film re-imagines the first encounter between Holmes and Watson from within the dusty honeycombs of a boarding school buried deep within the folds of Victorian London. What one finds there are fascinatingly incomplete portraits.
  7. Vivarium
    This a parable about adulthood boasts deeply cynical takes on home, community, and childrearing.
  8. The Many Saints of Newark
    The juxtapositions between backroom politicking, intimate family drama, and the occasional lurches into action often give the impression of a TV season’s worth of content crammed into two hours.
  9. Rebecca
    The film is a pretty bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion.
  10. Come Away
    The film can’t seem to decide whether it’s fantasy or allegory and whether its characters are fan fiction or flesh and blood.
  11. The Nest
    Sean Durkin’s sweated-over filmmaking tediously lifts a familiar tale of domestic dysfunction to the level of myth.
  12. Charm City Kings
    The film looks for an emotional payoff by continually upping the stakes of its main character’s self-destructive short-term thinking.
  13. The Nowhere Inn
    The film is elevated by funny, cleverly staged sequences, but it too often hammers the notion that fame destroys authenticity.
  14. A White, White Day
    There’s a moving study within the film of a man in emotional paralysis learning to redirect his love from the past to the present, but it’s too often obscured by a muted revenge yarn that’s no less banal because it’s tastefully directed.
  15. Herself
    Phyllida Lloyd’s film cannot escape its own somewhat mundane self-set contours.
  16. Uncle Frank
    When the distance between uncle and niece shortens, Uncle Frank ceases to be a tender portrait of outsider kinship and transforms into a histrionic road movie with screwball intentions.
  17. Nine Days
    Writer-director Edson Oda never really puts a unique spin on the familiar story of otherworldly figures peering in on the lives of the living.
  18. The Wretched
    The filmmakers don’t examine the psychological terror, the bitterness, and lust that gave rise to many of the works they cherish.
  19. Stillwater
    Stillwater gives itself over to drastic plot twists that derail what was already a film over-stuffed with narrative incident and ideas.
  20. After Yang
    Kogonada’s film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lenses of the ruling class.
  21. The Old Guard
    Though it smartly prioritizes the bond of relationships over action, the film is in the end only somewhat convincing on both counts.
  22. Extraction
    Chris Hemsworth’s hyperbolically skilled soldier is borne of childish fantasies about the order of the world.
  23. The Trouble with Being Born
    In the end, the film suffers from the same issue as its moody androids: enervation borne out of repetition.
  24. Sea Fever
    Writer-director Neasa Hardiman’s film is undone by earnestness.
  25. The Quarry
    Only Michel Shannon’s off-kilter timing brings The Quarry to sporadic life.
  26. The Secret Garden
    In lieu of pluming the emotional states of the characters, the film resorts to a whimsical, otherworldly fantasy element as an easy resolution.
  27. 52 Pick-Up
    52 Pick-Up loses its sense of social texture in the last third when everyone begins to die by decree of formulaic three-act screenwriting, and its indifference to the plight of Harry’s wife (Ann-Margret) is unseemly, but the film is an often nightmarish gem awaiting rediscovery.
  28. Eaten Alive
    With an enviable, well-stocked cast of character thespians and a carefully dilapidated motel set, Eaten Alive is all ingredients, no recipe.
  29. Train to Busan Presents: Peninsula
    Peninsula feels like the work of an artist who misunderstood his past triumph, squandering his talent for the sake of a pandering, halfhearted encore.
  30. The Marvels
    Only in the film’s climax, when the heroes are in the same confined area and can thus better calibrate their constant shifts in position, does the action attain a logical sense of movement and timing.
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