Slant Magazine's Scores

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For 7,769 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 6.5 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: 4,345 out of 7769
  2. Mixed: 1,491 out of 7769
  3. Negative: 1,933 out of 7769
7769 movie reviews
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  1. Mudbound
    As striking as Mudbound's combat scenes are, they largely exist as setup for the postwar-set second half of the film, which scrutinizes the way that the atrocities witnessed in Europe laid bare the unsustainable hypocrisy in America's own bigoted divisions.
  2. On the Beach at Night Alone
    Hong Sang-soo simultaneously positions filmmaking as the ultimate act of atonement and evasion, eviscerating himself so that he may live to stage several more films about the futility of getting hammered and worshipping and bedding gorgeous young women.
  3. Most Beautiful Island
    Many genre movies in which bad things happen to women end with them fighting back, but here, as people surely would in real life, they just take the money and run.
  4. Félicité
    Alain Gomis never reconciles throughout how the film's disparate parts are meant to fit together.
  5. Tempestad
    This is a heartfelt essay film that digs into several instances of trauma occasioned by Mexico's drug war.
  6. The Death and Life of Marsha P. Johnson
    It brims with empathy and righteous outrage at the treatment of trans people, but with only a vague organizational structure, it ultimately feels scattershot, passionately covering a number of important issues without quite unifying them into a coherent whole.
  7. Barracuda
    It's anchored by a pair of dynamic, intuitive performances which mine the psychological complexities of an understandably troubled relationship.
  8. Autumn, Autumn
    The film is a record of everyday spaces and the emotionally charged human dramas that pass through them.
  9. Hong Kong Trilogy: Preschooled Preoccupied Preposterous
    Throughout, Christopher Doyle acknowledges that time and reality are often marked by a slippery subjectivity.
  10. Boris Without Béatrice
    The film offers an oxymoronic parable that’s been utilized countless times by cinema, in loose reiterations of A Christmas Carol: The protagonist must learn humility after learning that the world revolves around him.
  11. Jackals
    Though far more elegant in execution than most Rob Zombie-imitating films, Jackals smugly wears its violent tediousness as a badge of honor.
  12. The Villainess
    When one finally puts together the pieces of the film’s scattered narrative puzzle, The Villainess doesn’t add up to all that much beyond a slick march toward an act of bloody revenge.
  13. England Is Mine
    England Is Mine is a tour ride through a legend’s formative years that’s more concerned with the familiar signposts than the intricacies of the scenery along the way.
  14. Kékszakállú
    Like Shohei Imamura, Argentinian writer-director Gaston Solnicki can be understood as a cinematic "entomologist."
  15. The Chaser
    The opaque ethics of The Chaser elide the reductive nature of binary pairs, focusing instead on the far more piquant complexity of human behavior.
  16. Halloween II (2009)
    Treading well-worn ground to diminishingly creepy returns is a bone-deep problem for Zombie’s latest, especially with regard to his characters.
  17. You, the Living
    Humor and sorrow are equally immediate emotions throughout, whether in the writer-director's traditionally structured setup-punchline scenes or his strange non sequiturs
  18. Whatever Works
    As it unfolds, Whatever Works assumes an increasing note of poignancy, becoming a quasi-optimistic story about securing whatever little love you can in this fakakta world.
    • 86 Metascore
    • 88 Critic Score
    Summer Hours
    It’s a testament to Assayas’s empathy that he is able to build the entirety of his drama in the distance between his principals’ forgivable self-interest and their quiet kindness.
  20. Star Trek
    Like the original cast’s best movie, The Wrath of Khan, this Star Trek essentially turns out to be a war film, with the occasional philosophical timeout to discuss love, friendship, and duty until the next bone-crunching fistfight or multi-weapon rumble with the Romulans. But Bana’s villain lacks the wit and corny majesty of Ricardo Montalban’s.
  21. X-Men Origins: Wolverine
    The action is perfunctory and forgettable, albeit no more so than the script's range of clichés.
  22. Quantum of Solace
    Updating this anachronistic cash cow with the scrappy and sexy Craig still looks like a wise move, but it requires a greater quantum of style than Solace provides.
    • 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.
  24. Fraulein
    Fraulein almost entirely shuns backstory, coloring around the lives of its characters with ostentatious style (in this case, fuzzy-wuzzy visual vibes and music tailored to each character’s generation) and hoping audiences won’t mind filling in the blanks.
  25. Take Out
    Economic anxiety is rarely spoken about in the film, but the life-and-death importance of dollars and cents is felt in every frame.
  26. Lion's Den
    Although the film is essentially contemplative, there’s little here worth contemplating.
  27. Viva
    Viva‘s intentionally flat performances and flatter double entendres...mercilessly satirize the Playboy mindset even as the film revels in the kitschiness of it all.
  28. 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.
  29. Evangelion: 1.0 You Are (Not) Alone
    There are no new explanations here, just a better packaged version of what Anno already delivered, which makes You Are (Not) Alone very attractive but fundamentally pointless.
  30. The Walker
    Paul Schrader blends lethargic self-referentiality with anemic political jabs in The Walker.
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