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. Somewhere in Queens
    Many of the character actors occasionally elevate the film above some of the more clichéd family humor.
  2. Devotion
    This unfocused, awkwardly paced film never quite gets off the ground and, as a result, will do little to change perceptions of the Korean War as the “forgotten war.”
  3. Brian and Charles
    The original Brian and Charles short focused entirely on its titular characters, and it’s clear that was for the best.
  4. Spiderhead
    By resolving its story around a mano-a-mano, the film narrows its understanding of a system in which exploitation is privatized.
  5. The Last Victim
    Distractingly indebted to No Country for Old Men, the film’s wild tonal swings mostly leave it feeling impossibly disjointed.
  6. Salvatore: Shoemaker of Dreams
    The focus on Ferragamo’s craft, and the very structure of manufacture, is exciting, but the narrative’s tendency to embody the opposite of his innovativeness feels lazy and contradictory.
  7. Stereo (Tile 3B of a CAEE Educational Mosaic)
    Even the director’s most rabid fans will find Cronenberg’s debut to be a tough sit.
  8. The Silent Twins
    Agnieszka Smoczyńska’s film is unwilling to really sit with the peculiarity of its protagonists’ unique psyches.
  9. Triangle of Sadness
    Writer-director Ruben Östlund’s pessimism ultimately leads the film toward a self-negating dead end.
  10. War Pony
    The filmmakers never effectively detail the characters’ relation to the various cultural, psychological, or historical intricacies of their milieu.
  11. Digger
    Georgis Grigorakis’s film may not revolutionize the western genre by transposing it to an unlikely setting, but it doesn’t dilute it either.
  12. Private Desert
    Aly Muritiba’s film is always telling the viewer that death-ness and trans-ness bear the intimacy of Siamese sisters.
  13. My Old School
    The film is a perfectly entertaining retelling of an offbeat tale, but it’s also superficial and borderline exploitative.
  14. A Magnificent Life
    Sylvain Chomet provides only a scant sense of Marcel Pagnol’s creative inklings, such as the ideas and themes that fuel the films that he fights so vehemently to make.
  15. Sick of Myself
    Kristoffer Borgli is unduly proud of himself for concocting his unlikable protagonists, and he marinates in their repulsive self-absorption.
  16. Strange World
    While Strange World’s examination of generational tension is tender and inspiring, as well as nicely tied to its theme of the necessity of adapting to changing times, the film’s sci-fi elements and environmental message are more half-baked in their execution.
  17. She Will
    She Will can’t decide if its horror or comedy, nor does it strike the balance that would harmoniously hybridize them.
  18. Rounding
    A few scenes show glimmers of promise for what Alex Thompson can achieve when he’s more in his wheelhouse. It’s a shame that the horror and tension that make up the bulk of Rounding are so clearly outside of it.
  19. Pearl
    Pearl is ultimately an empty exercise in style masquerading as a character study, and for as fantastic as Mia Goth is, her performance mostly succeeds at making Ti West’s homages just a little bit easier to stomach.
  20. The Greatest Beer Run Ever
    When it decides to sober up, the film’s comedy lurches into awkward attempts at melancholy.
  21. Captain America: Brave New World
    As the film explodes into numerous subplots that rapidly move far apart from one another, it necessitates constant leaps between characters and locations that only further disrupt the narrative flow of the proceedings.
  22. Bones and All
    Both Taylor Russell and Timothée Chalamet are sadly at a disadvantage given how many of the older actors gnaw at the scenery like it’s a still-warm cadaver.
  23. The Inspection
    The film is too invested in treacly cinematic optimism for its character dynamics to feel sketched out beyond their basic narrative function.
  24. Empire of Light
    In Sam Mendes’s film, the power of the movies comes off feeling disappointingly like an afterthought to the script’s more romantic and socially oriented concerns.
  25. Evil Dead Rise
    Lee Cronin serves up considerable gore with monotonous, po-faced earnestness.
  26. The Good Nurse
    For a while, the work on the part of the performers is nuanced enough to distract us from the film’s implausibilities.
  27. Wendell & Wild
    Henry Selick’s flair for phantasmagorical sights is on full display, though Wendell & Wild’s excessively CGI-enhanced look is a far cry from the grounded tactility of much of his prior work.
  28. Women Talking
    For better and worse, writer-director Sarah Polley’s adaptation of Women Talking is most noteworthy for its imagery.
  29. Raymond & Ray
    Rodrigo García’s film is fastidious, tidy, and lifeless, with every obligatory gesture in its place.
  30. Lady Chatterley's Lover
    However faithfully the film transposes the plot and themes of the source material, it struggles to capture the spirit, ironing out D.H. Lawrence’s modernity-skeptical modernism and losing sight of his poetic vision.
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