Slant Magazine's Scores

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For 7,772 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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  1. Tired Moonlight
    It's to Britni West's credit that she's yoked the film's experimental sequences with the hard reality of characters trying to figure things out.
  2. Wrecker
    Time and again, the filmmaker cuts the money shot meant to theoretically cap a sequence.
  3. Jason and Shirley
    Stephen Winter's film doesn't earn the gall it evinces by pissing on Shirley Clarke's masterpiece.
  4. Insiang (1976)
    Lino Brocka's portrait of familial treachery and societal abandonment channels its melodrama through the filter of neorealism.
  5. Everybody's Fine
    It joins its American cousin in the scrapheap of family dramedies that no one watches, unless by default out of boredom on TBS or TNT.
  6. The Blue Hour
    An initially intriguing attempt to splice together a gay romance and a horror film that ultimately shows little flair for either genre.
  7. Misconception
    The even-handedness of Yu's gaze throughout the first part of the film, alas, isn't sustained in the second and third chapters.
  8. Viral
    The film slightly reorients our perspective on the familiar tropes of both the teen and apocalyptic genres.
  9. A Beautiful Now
    Writer-director Daniela Amavia fails to link the lives of her characters to any deeper sense of meaning.
    • tbd Metascore
    • 50 Critic Score
    Game of Aces
    The characters' motivations are dictated less by the dynamics of their personalities and more by the needs of the screenplay.
  11. Homeland: Iraq Year Zero
    Throughout his nearly six-hour documentary, Abbas Fahdel is content with showing only the outer surface of people's lives.
  12. Happy Birthday
    It plays like it was written by a bro who just discovered the early films of Quentin Tarantino.
  13. Belle Épine
    Neither sentimentality nor nostalgia for reckless years gone by can be found in Rebecca Zlotowski's Belle Epine, which makes its tale of teenage rebellion in the face of overwhelming grief fall closer to a sobering character study than a classical youth film.
  14. Phantasm III: Lord of the Dead
    Don Coscarelli outdoes the humor of John Hughes in what feels like a more honest version of the gleeful sadism in Home Alone.
  15. Phantasm IV: Oblivion
    The freewheeling atmosphere of dread more than make up for the incoherence, but Phantasm IV: Oblivion at times feels like an expensive, 35mm home movie made by some kids in their backyard.
  16. Lost and Beautiful
    When he's not busy lamenting a bygone past, Marcello more broadly and usefully reminds us of a world beyond our own and a time beyond the present, all of which can be easy to forget in a country as full of political and economic turmoil as present-day Italy.
  17. Ghostland: The View of the Ju/’hoansi
    The film’s nagging representational problem stems from its reductive sense of place and portraiture of emotional displacement, which gradually phases out the possibility of thornier revelations.
  18. The Institute
    The Institute seems constantly on the verge of dipping into spoof, though of what exactly is difficult to say.
  19. The Island Funeral
    The film rolls political commentary into the template of a “lost highway” horror film by forgoing ironic distancing.
  20. Paraguay Remembered
    Like most great essay films, Paraguay Remembered is driven by associations not just with art works with which it shares a kinship, but a stream-of-conscious relationship between word and image.
  21. Les Hautes Solitudes (1974)
    Trading on the already-resonant associations engendered by a famous face, Garrel's film responds by forging a new, deeper connection between an actress and her public, resulting in that rare moment of cinematic alchemy where the line between fact and fiction has not only blurred, but ceased to matter entirely.
  22. The Dreamed Path (Der traumhafte Weg)
    That the film adheres, upon close scrutiny, to the rough shape of a classical romantic tragedy—a seemingly intuitively understandable genre—only confirms the extreme degree to which Schanalec’s idiosyncratic manner of storytelling skirts and frustrates expectations.
  23. Ta'ang
    The film follows its refugee subjects closely but with a physical and narrative distance that respects their independence.
  24. The Recall
    Mauro Borrelli's The Recall has the look of a SyFy original movie and the self-seriousness of Ridley Scott's recent Alien films.
  25. Autumn, Autumn
    The film is a record of everyday spaces and the emotionally charged human dramas that pass through them.
  26. M.F.A.
    Natalia Leite's ambition and accompanying uncertainty give the film its unruly and resonant energy.
  27. Antiporno
    Sion Sono, allergic to subtlety, is terrified that we won't notice his detonation of Nikkatsu's sexploitation traditions.
  28. Beast of Burden
    The film’s flashbacks, which are either too clipped or excessively scored, effectively step on the actors’ toes.
  29. The Competition
    The will-they-won't-they of the film is a non-starter, and as such the film's climax is stripped of suspense and even the most basic of dramatic payoffs.
  30. Nana
    The film flattens Maryla's personal story into hazy generalities about tolerance and the value of remembrance.
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