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. Shoeshine
    Notwithstanding the veracity of the American-occupied urban locations he captures, De Sica doesn’t innovate or subvert expectations in the manner of the contemporaneous war trilogy of Roberto Rossellini, and his plotting with principal screenwriter Cesare Zavattini doesn’t rise above the level of a vivid potboiler with a mild bent for muckraking.
  2. The Love Witch
    The film has an artisanal intensity that prevents it from turning into a smug and predictable exercise in political revision.
  3. Toni Morrison: The Pieces I Am
    In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.
  4. Peter Hujar's Day
    The film attests not only to the breadth of Sachs’s artistry but also to Hujar’s devotion to exploring the relationship between high and low culture.
  5. The Killing of Two Lovers
    The film’s cramped compositions hauntingly underline the claustrophobic nature of its protagonist’s life.
  6. Night of the Kings
    The film is a celebration of oral traditions as a means of giving purpose to even the most hopeless of lives.
  7. 3 Women
    3 Women is a daring piece of cinema that glides along the edge of weirdness and somehow manages not to fall off.
  8. These Birds Walk
    The filmmakers use a wide range of cinematic techniques to convey the tenuous environment in which their subjects find themselves.
  9. The Second Mother
    Character relations are hinted at and even primed for confrontation, but without payoff or meaningful conclusion.
  10. Anselm
    Anselm is ultimately an extension of Kiefer’s “protest against forgetting,” as it reminds us that art is an act of remembrance.
    • 82 Metascore
    • 75 Critic Score
    Hit Man
    Many of Richard Linklater’s films are united by their celebration of the pretentious in its etymological meaning of “playing pretend.” With Hit Man, he and Glenn Powell take this further by demonstrating that acting isn’t just entertainment or art—it’s also a fundamental part of our lives.
  12. Ghostlight
    Directors Kelly O’Sullivan and Alex Thompson are extraordinarily perceptive in highlighting the instances where stagecraft informs everyday life.
  13. Afire
    Afire builds a story that begins as a hangout comedy with a sad-sack at its center but gradually becomes a slow-motion conflagration that offers no easy answers.
  14. Wrestle
    The documentary shines a piercing light on the sorts of people that our governments would too often rather forget.
    • 82 Metascore
    • 88 Critic Score
    Viola
    In essentially offering up The Twelfth Night as a hazy Shakespearean mash-up, Viola isn't so much deeply disrespecting notions of ownership, authorship, etc., as charitably redefining them.
  16. The Cathedral
    The Cathedral is a deeply humanist film, but it’s also a relentlessly bleak exorcism of a family’s intolerances.
  17. Relaxer
    Joel Potrykus's droll world is defined by feats of man-child pettiness, by lazy guys who turn the banalities of daily life into meaningless trials of integrity.
  18. The Deep Blue Sea
    Its director's romantic sensibilities wed to Terrence Rattigan's 60-year-old play, this period drama is buoyed by Rachel Weisz's poignant embodiment of a bourgeois wife seeking erotic autonomy.
  19. The End of the Tour
    It does well in using dialogue to shape its escalating tête-à-tête, but the filmmaking is too fuzzy to expand on those ideas.
  20. Labyrinth of Cinema
    Manic, maximalist, and bristling with postmodern bells and whistles, Labyrinth of Cinema is exactly what its title suggests.
  21. Vortex
    Merciless but affecting, Vortex suggests that one respite from the loneliness of life lived in the shadow of death is the realm of dreams.
  22. There Is No Evil
    The film grapples with the various shapes that guilt and honor (or lack thereof) might take in a context of state-sanctioned death.
  23. Thieves Like Us
    This isn’t simply another version of the mythologizing tactics that saw Bonnie Parker emulating the flappers from Gold Diggers of 1933 in Bonnie and Clyde. Altman refuses to romanticize his characters’ impressionable innocence, but nor is he resolute to assert cultural impregnability either. Instead, Altman’s emphasis lies in locating the specificities of historical time and understanding how socially constructed mythologies come to proliferate in the first place.
  24. Acasă, My Home
    The film is at its most moving when it lingers on the face of children who are impotent to return to the world they used to call home.
  25. El Velador
    El Velador doesn't pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
  26. Maiden
    Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material.
  27. War for the Planet of the Apes
    The psychological wars that have made the prequels simmer with tightly wound tensions are given their most cutting treatment yet.
  28. You Won't Be Alone
    Throughout You Won’t Be Alone, writer-director Goran Stolevski rejects the slickness that defines so-called elevated horror.
    • 82 Metascore
    • 88 Critic Score
    Grand Tour
    If Tabu locates the colonial mindset in madness and obsession, Grand Tour does so in cowardice and obliviousness.
  30. Short Term 12
    There's tremendous dramatic value to the aching and sometimes devastating scenes that home in on these kids' private torments.
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