Slant Magazine's Scores

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For 7,776 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 6.3 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. In Our Nature
    In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
  2. My Brothers
    An uncommon example of purely allegorical cinema, Paul Fraser's film foregoes plot almost entirely in favor of thematic resonance.
  3. That Demon Within
    It rarely feels like anything more than an effort to pander to the kind of audiences that enjoy Quentin Tarantino's films for all the wrong reasons.
  4. The Walker
    Paul Schrader blends lethargic self-referentiality with anemic political jabs in The Walker.
  5. A Five Star Life
    The director diligently keeps her heroine's ego in check, and that's awfully principled of her, but her audience may feel as if they've inadvertently booked a trip with no destination.
  6. The Pill
    At the very least, The Pill could have been a pleasant exercise in screenwriting sharpness if Fred and Mindy's situation had been confined and (un-)resolved within the confines of its very promising first scene.
  7. 11 Minutes
    Jerzy Skolimowski's formal control over the material is so masterful that the textual particulars are revealed to be beside the point.
  8. Dumbo
    Tim Burton manages to put his stamp on this clunky behemoth of a film, but in the end, the Mouse always wins.
  9. Rough Night
    To some degree, Rough Night's attention to character detail compensates for its weaknesses as a comedy.
  10. Criminal Activities
    The actors have the showmanship to chew the lurid, shopworn material up to bits, savoring it like a Royale with cheese.
  11. Peter Rabbit
    Peter Rabbit plays like a country cousin to Paul King's Paddington films, similarly balancing slapstick, absurdism, and a touch of gross-out humor, though without King's transcendently oddball sensibility.
  12. Late Phases
    Adrián García Bogliano ends up merely toying with the death-steeped concerns of his characters, and taking the furious and bitter perspective that powers the narrative's ponderous dramatic core for granted.
    • 51 Metascore
    • 50 Critic Score
    What Just Happened
    Generally, the film is a compelling portrait of Hollywood egoism, though it suffers from this very egoism itself. It’s hard to tell where the film is representing reality, and where it is representing a caricature of reality.
  14. Mademoiselle C
    It's to Carine Roitfeld's own credit and director Fabien Constant's funky and frenetic pacing that the doc feels neither like a corporate hagiography nor like mere fashionista masturbation material.
  15. Where'd You Go, Bernadette
    The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R.
  16. Operation Fortune: Ruse de Guerre
    Promising but failing to deliver the colorful characters and winding, breakneck plot of a caper, Operation Fortune may itself be a ruse, but it’s not a convincing one.
  17. Woman in Gold
    The film evades all but the most careful commonplaces about the relationship between the viewer and the work of art at its center.
  18. Private Peaceful
    By modestly embracing its inherent minimalism and finding the emotions underlying even the most schematic of scenarios, the film taps into something unmistakably human.
  19. A Man Called Otto
    The film is so toothless that its protagonist is ultimately about as forbidding as a warm hug.
  20. Me Before You
    It punks its impressionable audience into believing a lie, then punishes them for their foolishness.
  21. The Woman in the Yard
    The film is a slow-burning tale of very real traumas suffered by a woman far out of her element and forced to process a tragedy on top of it all.
  22. Izzy Gets the F*ck Across Town
    Christian Papierniak manages to get a tricky tonal balance more or less right, capturing the false sense of superiority that Izzy projects over her environment without allowing the film itself to revel in said superiority.
    • 51 Metascore
    • 75 Critic Score
    Barbarella
    A rambling, shaggy-dog structure as an excuse to flagrantly foreground softcore sexual hijinks tinged with a pungent whiff of social commentary.
  24. Pretty Lethal
    The film is lean, mean, and feisty, even if it doesn’t quite stick the landing.
  25. The Accountant
    The film juggles a “follow the money” procedural with corporate espionage thriller, producing two competing tones that never reconcile into one fluid narrative.
  26. Trolls World Tour
    At its best, the film doesn’t just privilege altered states of consciousness, it is an altered state of consciousness.
  27. My Blueberry Nights
    Every shot is painstakingly thought out, but less emphasis is placed on the human face than on the surfaces that reflect it and the objects that obscure it, and the overall effect is close to that of fetish art.
  28. White Bird in a Blizzard
    Gregg Araki's film suggests a hothouse melodrama that's been drained of the hothouse, the melodrama, and any other discernably dramatic stakes.
  29. Naples '44
    It’s far too scattershot, bouncing from one topic to the next with the carelessness of someone flipping through a book and reading from a random page.
  30. Liberté
    Though betraying the markings of its original form in its small revolving ensemble, single location, and frequent tableau staging, Liberté conjures a sustained ambiance and eroticism that’s unique to the language of cinema.
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