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. Atlas
    Atlas seems like a story that should have been experienced with a gamepad in hand.
    • tbd Metascore
    • 50 Critic Score
    Arcadia
    Yorgos Zois’s film banks on juxtaposition alone without quite delving into more fertile terrain.
  3. Pepe
    As an anguished cry against colonialism, Pepe works best when illustrating the micro ways in which culture is erased by capital interests.
  4. The Watchers
    Pacing is a conspicuous problem and the rushed third act threatens to crumble as The Watchers becomes overloaded with revelations and mythology that strain a foundation barely braced to hold their weight.
  5. Red One
    It’s neither naughty or nice, and in Santa’s book, that likely means it just ends up getting nothing this Christmas.
  6. Y2K
    The big sequence where the year 2000 hits and everything from a toaster to a Tamagotchi goes homicidal is a chaotic blast, but once the film shifts into a broader comic gear, it never quite finds its heart again.
  7. One Battle After Another
    Paul Thomas Anderson’s dark comedy One Battle After Another turns overreaching into an art form.
  8. Omni Loop
    The film retreads ideas familiar from time-loop stories without offering anything especially new.
  9. Humane
    Caitlin Cronenberg vests her images with an eerie, confident power, but that’s more evident in her examinations of the frictions between the characters, and not so much in the tapestry of murder and mayhem that ensues.
  10. Fly Me to the Moon
    Fly Me to the Moon’s sudden shift toward the weighty throws off the pace of what had been a formulaic but charming rom-com, as the heavy-handed look at both Cole’s and Kelly’s past demons fails to mesh cohesively with the antic silliness that preceded it.
  11. Trap
    M. Night Shyamalan’s stylish thriller is schizophrenic in more ways than one.
    • 52 Metascore
    • 50 Critic Score
    Parthenope
    The film’s succession of symbolically loaded vignettes is less meaningful than intended.
    • 44 Metascore
    • 50 Critic Score
    Treasure
    Because the casually observational moments of Julia von Heinz’s film are so rich, its thematic contrivance becomes harder to accept.
    • 60 Metascore
    • 50 Critic Score
    Den of Thieves 2: Pantera
    Pantera feels far more anonymous, sleeker and less outlandish, than its predecessor.
  15. Armand
    By the time we’re watching whole conversations be drowned out by noise of pounding rain, the abstract tendencies of Armand begin to feel like an act of unintentional self-sabotage
  16. Wolfs
    The witty repartee between Clooney and Pitt feels like the only thing holding the film together.
  17. The Damned
    Had we been allowed to truly sit with the characters’ prejudices, then The Damned might have earned the desperation with which it strains for contemporary resonance.
  18. The Front Room
    If there’s any food for thought in The Front Room, it’s the ongoing portrayal of old folks in the A24 catalog.
  19. We Live in Time
    John Crowley’s film blunts the force of the naturalistic performances by Florence Pugh and Andrew Garfield as it shifts around the timeline of the story with little rhyme, reason, or rhythm.
  20. Hell Hole
    The most consistent recurring theme across the work of the Adams family—parenthood as a siphoning off of the life giver’s vitality in a protracted, eternal cycle of decay and renewal—finds its most literal, alien expression here.
  21. Meanwhile on Earth
    The overbearing plot of the film sadly obscures the humanity of its characters.
  22. Shelby Oaks
    Chris Stuckmann’s utilitarian approach is doubly frustrating considering that Shelby Oaks does, at least in the early going, point toward potentially having something to say about the vlogger space, internet infamy, and the way tragedy takes on a cultural virality.
  23. Power Ballad
    Like the fraught relationship between its two musician characters, the film never finds the right groove.
  24. Coup!
    The film has little to add on the subject of the interplay of politics and infectious disease, then or now.
  25. Eden
    As the plot progresses, the film appears increasingly adrift, discordantly sliding between farce, satire, and murder mystery.
  26. Black Bag
    By the time the film comes to the end of its brisk runtime, it feels like nothing much has actually happened, despite all the narrative convolutions.
  27. Let Sleeping Corpses Lie
    Despite some satisfyingly gut-busting moments, The Living Dead at Manchester Morgue retains a very British stiff upper lip.
  28. Transamazonia
    Plunging headlong into the murk of exploitative missionary work and environmentally destructive capitalism, Transamazonia is a film with undeniable import and sociopolitical urgency, which its muddled narrative can’t completely dampen.
  29. Hamnet
    Though Hamnet is concerned with bottomless grief and the unique power of art to express the inexpressible, it can’t help but telegraph its themes loudly and incessantly, its emotional register off-puttingly monotonous.
  30. The Friend
    Hardly a false note is sounded throughout The Friend, but it operates within such a limited emotional range that it drifts into monotonic plainsong.
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