Slant Magazine's Scores

Select another publication »
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
view
per page
  1. House of Hummingbird
    The film is never more intense than when it’s finding parallels between its main character’s anomie and Korea’s dehumanizing expansion.
  2. What Do We See When We Look at the Sky?
    The film is an offbeat epic informed by a reverence for the past and a delicate wariness toward the future.
  3. Our Beloved Month of August
    Gomes contemplates the many human dimensions wavering under the surface of this town, whether it’s the mythologies crowding a town’s gossip session or the tall tales flooding rants at a local bar. This is a collective voice of character rather than a dry document of reality.
  4. Grand Theft Hamlet
    Grand Theft Hamlet excels at blurring the line between low and high art.
  5. Joyland
    Joyland is full of extraordinary situations that prevent it from being defined by its topicality or tantamount to a badge of honor.
  6. Rye Lane
    Rye Lane’s antic energy and caricatured portrait of England’s capital city fail to make its central romance truly resonate.
    • 82 Metascore
    • 75 Critic Score
    To Catch a Thief
    Hitchcock and screenwriter John Michael Hayes posited voyeuristic spectacle as the essence of cinema in Rear Window; in To Catch a Thief they validate their thesis with plenty of spectacle to be voyeuristic over.
  8. The Lobster
    The near-surgical precision with which Yorgos Lanthimos approaches the most surreal of conceits turns out to be a double-edged sword.
  9. Rose of Nevada
    The film plunges us into a world that feels simultaneously naturalistic and otherworldly.
  10. The Nightmare Before Christmas
    Whereas the film is a marvel to look at, it’s unfortunately not much in the song or story department, as Danny Elfman’s musical numbers are—save for the opening’s boisterous “This Is Halloween”—generally banal and unmemorable, and the plot, despite only having to fill out a paltry 76 minutes, ultimately as emaciated and insubstantial as its leading bags of bones.
  11. Rebels of the Neon God
    Tsai Ming-liang's debut makes one yearn for an alternative reality where it, not Pulp Fiction, became the beacon of '90s independent filmmaking.
  12. Life and Nothing More
    Antonio Méndez Esparza crafts a revealing portrait of life as lived under a regime of race and class oppression.
  13. 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.
  14. They Live by Night
    Ray’s plaintive artistry lends this weepy noir a melancholic beauty.
  15. A Quiet Place
    The pleasure of A Quiet Place is in John Krasinski's commitment to imagining the resourceful ways in which a family might survive in this kind of world, then bearing witness to the filmmaker's skillfully constructed methods of putting them to the ultimate test, relentlessly breaking down all of the walls the family has erected to keep the monsters out.
  16. Riefenstahl
    If there’s still anyone uncritically repeating Riefenstahl’s narrative of naïveté, they’ll find it hard to sustain by the end credits.
  17. Carmine Street Guitars
    The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge.
  18. The Teachers' Lounge
    While Ilker Çatak’s The Teacher’s Lounge makes full use of the dramatic possibilities inherent in its setting, it doesn’t exceed its remit by turning the story into a referendum on society.
    • 82 Metascore
    • 75 Critic Score
    Frances Ha
    Noah Baumbach's film feels like too perfect a portrait of quarter-life malady, down to the rushed redemptive endnotes and Greta Gerwig's idealized heroine.
  20. C'mon C'mon
    C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.
  21. In the Family
    An acutely felt, altogether devastating family drama as intimate and affecting as it is sprawling and untamed.
  22. Burn
    The endless scenes of burning buildings and macho posturing merely provide an action-driven context for the filmmakers to deal with more personal topics like loneliness and resiliency.
    • 82 Metascore
    • 75 Critic Score
    A Hijacking
    Tobias Lindholm's hostage-negotiation drama that wields its verité style for maximum tension.
  24. Black Sabbath
    Black Sabbath speaks to the vastness of Bava’s abilities in the realms of the terrifying and the supernatural.
  25. Nocturnes
    The film is uplifting in its understated optimism that understanding of the natural world driven by technology might accompany understanding of the divine.
  26. Black Box Diaries
    The film leaves on a razor’s edge between hope and despair, encouraged on the one hand by the passion with which justice is being demanded and, on the other, depressed by the widespread indifference with which these demands are met.
  27. The Trip
    Steve Coogan and Rob Brydon's shtick - a relentless verbal sparring comprised of dueling impressions, poetry recitations, absurdist riffing, and comic one-upmanship - works best in small doses.
  28. Knives Out
    The actors’ hammy performances only compound the amusement of watching a dynasty propped up by largesse fall to pieces at the very thought of actually having to earn their way in life.
  29. The Spectacular Now
    Given the film's early promise, it's unfortunate how it turns into a largely reductive Freudian character piece in which the main character has to come to terms with his old man.
  30. My Man Godfrey
    La Cava’s supple but cutting romantic comedy is one of the finest works of class-conscious comedy in Hollywood history.
Page:

Top Trailers

See all »
See all trailers »