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. Lipstick
    It’s Lifetime. It’s camp. It’s seriously confused, and it should speak directly to drag queens in straight relationships everywhere.
  2. Who You Think I Am
    Unlike the novel, the film ultimately trades its main character’s account of her own suffering for her therapist’s pathologizing assessment.
  3. The Infiltrators
    The film is never more compelling than when relying on footage of the real radical DREAMer group the National Immigrant Youth Alliance.
  4. Elvis
    The protracted rubbernecking at Elvis’s inexorable decline epitomizes a film that regularly backs away from its keenest observations about the icon to merely, and superficially, bask in his star power.
  5. 7500
    Convenient plot twists undermine its early pretense that it’s aiming for something other than to exploit our deepest, most regressive fears.
  6. Come Play
    While it can be expected that high-concept horror movies will often be sewn together from the premises of recent genre successes, it’s much too easy to see the stitches in writer-director Jacob Chase’s Come Play.
  7. Ron's Gone Wrong
    The film celebrates individuality even as it suggests that everyone needs their own A.I. tech to validate everything they like and think.
  8. You Should Have Left
    David Koepp is a fatally un-obsessive craftsman, one who’s fashioned a horror film that resembles a tasteful coffee table book.
  9. The One and Only Ivan
    The charitable representation of Bryan Cranston’s character greatly diminishes the emotional resonance of the film’s dramatic turns in the final act.
  10. Europa
    Von Trier and his three cinematographers fashioned a handmade, retro pastiche with a small, dried-out heart.
  11. The Beach House
    The character drama becomes afterthought as it’s superseded by action.
  12. Summer of 85
    François Ozon’s paean to nostalgia wraps tragedy and obsession in a whimsical bow.
  13. Sputnik
    Sputnik’s third act is a rush of formulaic action meant, perhaps, to compensate for the interminably repetitive and impersonal second act, which is mostly concerned with reinforcing a set of foregone conclusions.
  14. Spider-Man: No Way Home
    There’s no attempt to hide that the film is pure fan service, a greatest-hits mashup of Spider-Man’s cinematic legacy.
  15. I Used to Go Here
    The film is almost sadistically driven to turn a woman’s trip down memory lane into fodder for cringe humor.
  16. The Seventh Seal
    The Seventh Seal, assisted by cinematographer Gunnar Fischer’s richly overexposed images, operates as though it contains the undiluted essence of life’s fueling dialectic formula. Occasionally it does, most notably in the terrifying arrival of the self-flagellants to a weak-willed village. But the road-trippers in Bergman’s follow-up, Wild Strawberries, achieve a far greater grace and clarity with only a fraction of the heavy lifting.
  17. Silent Running
    While the drones are still cuter than Ewoks, Lowell remains a cloying representation of a ‘70s acid freak shoving his save-the-trees mantra down your throat.
  18. Words on Bathroom Walls
    The film reeks of the extremely idealistic notions of young love that plague many a YA adaptation.
  19. The Boys in the Band
    This new Boys in the Band is a Matryoshka doll of period piecery, a flashback of a flashback of a flashback.
  20. The Calming
    Song Fang’s latest moves glacially along in a largely unchanging emotional register, always keeping us at a distance.
  21. Apples
    The film's rendering of the interplay of memory, identity, and grief is disappointingly vague.
  22. The Duke
    The film misses an opportunity to delve particularly deeply into the keenly relevant issues of inequality and social disconnection that so animate its protagonist.
  23. The World to Come
    The film presents a world that too often feels as if it’s a product of the present day.
  24. Nocturne
    If Quirke’s film means to mimic the tunnel vision of its protagonist, it does so perhaps too effectively, losing its thematic potency as it travels on a predictable trajectory, involving spooky drawings and sisterly spats, all the while leaving the existential miasma sitting out of frame.
  25. Evil Eye
    Evil Eye is a feast of timidly undeveloped raw material.
  26. Supernova
    Supernova is so obviously structured that it often seems to be imposing meaning on its characters.
  27. Deep Water
    After a dangerous, even personal, first half, Deep Water becomes crude in all the wrong ways.
  28. Blood on the Wall
    Sebastian Junger and Nick Quested’s prismatic look at a devastating new chapter in the War on Drugs lacks for cohesiveness.
  29. The Beast Must Die
    When The Beast Must Die is ripping off The Most Dangerous Game, it’s an amusing, if minor, genre offering.
  30. Kindred
    It’s difficult to shake that the film finishes saying what it has to say long before it staggers to the end.
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