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. Society of the Snow
    J.A. Bayona rarely lets his images speak for themselves, which is frustrating given his obvious gift for poetic, almost surreal succinctness.
  2. The Seeding
    Ironically for a film that unfolds almost entirely in a single, contained location, The Seeding is all over the place.
  3. Shoshana
    It’s possible that a kind of objective moral ambiguity was the goal here, but given the sensitive nature of the material, it’s difficult to shake the feeling that the film’s vagueness is the calculated strategy of those unwilling to take a side.
  4. The Toxic Avenger
    Pulled awkwardly in so many directions, this Toxic Avenger all but comes apart at the seams.
  5. Stopmotion
    The film falters when it attempts to mold its best instincts into a discernible narrative shape.
  6. Wish
    Wish plays out like the No Frills version of a Disney princess story.
  7. Anyone But You
    Will Gluck’s rom-com doesn’t bother to create a compelling world around its charming leads.
  8. Infested
    If Infested had given us a little more reason to invest in its human specimens than in the blunt mechanics of its genre trappings, then maybe some of the commentary would have clung to us like the webs do to the spiders’ victims.
  9. Housekeeping for Beginners
    In spite of the too-muchness of their performances, the actors wrestle for expressiveness and subtlety against the script’s more obvious and schematic telegraphing of not-quite-nuclear discontent and, ultimately, reconciliation.
  10. The Convert
    All of the time spent on Thomas Munro’s various campaigns for reconciliation and harmony between two Māori tribes hampers the film, which would have been better served had it expounded on the grander conflicts that it only superficially acknowledges.
  11. The Empire
    Notable as it is for evoking a kind of cosmic banality, writer-director Bruno Dumont’s anti-space opera The Empire runs into same the pitfall as many parodies of its kind.
  12. Blast of Silence
    Haunting, remote, and workmanlike, Blast of Silence may be the only film I’ve ever seen with a trip on the Station Island Ferry in which I expected a tumbleweed to flit across the deck.
  13. The Fall Guy
    Whenever its main characters are pulled apart, the movie magic, in every sense of the phrase, dissipates, leaving us with a bland, derivative action-comedy that’s never quite as funny or thrilling as it thinks it is.
  14. Mothers' Instinct
    Benoît Delhomme’s 1960s-set directorial debut can’t decide whether it wants to be considered camp or not, awkwardly pitching itself between a somber drama and antic melodrama.
  15. Ghostbusters: Frozen Empire
    There are protracted moments of humor, fright, and pathos in Frozen Empire, but as it’s all so scattershot and disconnected, the film ends up being defined by its lack of conviction when it comes to exploring its ideas to the fullest.
  16. IF
    The most charitable read on John Krasinski’s IF is that using your imagination shouldn’t be bound by traditional story structure, so why should a film about unfettered imagination need the same?
  17. I Saw the TV Glow
    The film is a mesmeric but frequently muddled exploration of transgender self-actualization.
  18. Bird
    As evocative as it is, the film’s use of small-town squalor as a blank canvas for artful indulgences often detracts from its purported authenticity.
  19. Blitz
    Blitz is an earnest, broad-strokes portrait of a bustling city that occasionally succeeds in communicating the unprecedented sensory shock of modern warfare, but its uncritical craftsmanship and quarantining of past atrocities from present-day concerns also render the proceedings mostly lifeless.
  20. Havoc
    If the rest of it had been as driven by such a ferocious sense of purpose as its final act, Havoc would be one of the finest action movies of the decade so far.
  21. Maria
    Between Jackie, Spencer, and, now, Maria, Pablo Larraín has thrice committed the cardinal sin of taking a female icon of the 20th century and, in an attempt to hold a mirror up to her multitudes, flattened her into the equivalent of a kitschy postage stamp.
  22. Blink Twice
    Blink Twice clearly has thoughts about the danger that men can pose and the way women are forced to perform happiness while in the company of such predators, but it never provides more than a surface-level understanding of such dynamics.
  23. Queer
    In the end, Luca Guadagnino effectively turns a very complicated literary figure into the kind of blubbering, nostalgic old man you’d expect to see in a student film or a Sundance prizewinner.
  24. Handling the Undead
    For how committed it is to convincing the audience of the profundity of a rudimentary point, the film’s measured pacing comes to feel like a kind of torture.
  25. Nightbitch
    It’s disappointing to see a film with such a weird premise as Nightbitch ease into an orthodox storytelling mode.
  26. Presence
    The unoriginality of Presence’s story eventually calls out the POV conceit as a one-note gimmick, especially when the tension is dialed up in the film’s second half.
  27. Suncoast
    Suncoast spends much of its runtime trafficking in tiresome coming-of-age tropes, until the resulting crowd-pleaser has snuffed out much of what’s so singular about its central story.
  28. Seeking Mavis Beacon
    The film proves itself incapable of or unwilling to follow through on its ideas to an ultimate conclusion.
  29. War Game
    By setting up such a potentially cataclysmic scenario and not convincingly illustrating how it could be resolved or stopped from occurring in the first place, War Game undercuts the very reason it was made.
  30. The Ministry of Ungentlemanly Warfare
    To Ritchie’s credit, he keeps his film moving along at a consistently brisk clip, but that breeziness is also the cause of its weightlessness, rendering its vision of historical events as outright cartoonish, down to the often clownish portrayals of Nazis and the flawless execution of nearly every element of March-Phillips’s plans.
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