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 6.4 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. Catherine Called Birdy
    In simplistic and self-congratulatory fashion, the film renders its main character as a sort of feminist crusader who undermines the sexist traditions of her time.
  2. The Good Nurse
    For a while, the work on the part of the performers is nuanced enough to distract us from the film’s implausibilities.
  3. Sick
    Throughout, the film’s characters impressively hold their own when forced to defend their lives, with director John Hyams catching every incident of bone-crunching mayhem as if he were shooting a martial arts film.
  4. Living
    Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.
  5. All the Beauty and the Bloodshed
    The warm, rueful, and sometimes angry All the Beauty and the Bloodshed accomplishes the goal of any documentary worthy of its genre by shining an insightful light onto what informs an artist’s vision.
  6. Don't Worry Darling
    Don’t Worry Darling has the swing-for-the-fences ambition that should have at least made it a noble and compelling folly, but its repetitiveness frustratingly undercuts its grandiosity.
  7. The Woman King
    The film is a historical action epic that, for all the novelty of its setting and subservience to contemporary attitudes, traffics in a lot of cliché narrative beats and ideologies.
  8. Wendell & Wild
    Henry Selick’s flair for phantasmagorical sights is on full display, though Wendell & Wild’s excessively CGI-enhanced look is a far cry from the grounded tactility of much of his prior work.
  9. The Silent Twins
    Agnieszka Smoczyńska’s film is unwilling to really sit with the peculiarity of its protagonists’ unique psyches.
  10. Pearl
    Pearl is ultimately an empty exercise in style masquerading as a character study, and for as fantastic as Mia Goth is, her performance mostly succeeds at making Ti West’s homages just a little bit easier to stomach.
  11. Empire of Light
    In Sam Mendes’s film, the power of the movies comes off feeling disappointingly like an afterthought to the script’s more romantic and socially oriented concerns.
  12. No Bears
    No Bears generally spends less time finding aesthetic articulations of its themes than it does building out an increasingly convoluted plot to support them.
  13. The Whale
    With The Whale, Darren Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.
  14. The African Desperate
    That The African Desperate is a send-up of art school is beyond doubt, but what’s less clear is just how far the satire goes.
  15. Glass Onion: A Knives Out Mystery
    The climax has a certain primally cathartic power, but it doesn’t quite dispel the air of self-satisfaction that envelops the script.
  16. Women Talking
    For better and worse, writer-director Sarah Polley’s adaptation of Women Talking is most noteworthy for its imagery.
  17. One Fine Morning
    The film’s storytelling is deceptively straightforward, rooted in realistic dialogue and Mia Hansen-Løve’s light touch as a visual stylist.
  18. The Inspection
    The film is too invested in treacly cinematic optimism for its character dynamics to feel sketched out beyond their basic narrative function.
  19. Corsage
    Writer-director Marie Kreutzer’s boldly restive biopic imagines Empress Elisabeth of Austria as a deeply restless soul chafing against the social limitations of her day.
  20. The Eternal Daughter
    The film is honest and poignant in its kaleidoscopic refractions of the frustration inherent in a process that’s only just beginning.
  21. Decision to Leave
    Throughout the film, one often feels the plot machinations working against Park Chan-wook’s poetry, though in a few cases poetry wins out.
  22. Aftersun
    Deftly constructed and utterly heartbreaking, Aftersun announces Charlotte Wells as an eminent storyteller of prodigious powers.
  23. Triangle of Sadness
    Writer-director Ruben Östlund’s pessimism ultimately leads the film toward a self-negating dead end.
  24. Weird: The Al Yankovic Story
    Weird accordingly (or is it accordion-gly?) takes everything to new heights of glorious ridiculousness.
  25. Bros
    Bros is ultimately let down by its pat perspectives on modern romance and social justice.
  26. EO
    EO feels freed of plot, free of expectation, driven only by the need to honor its own internal, poetic drive.
  27. Broker
    Even when it edges toward sentimentality, Broker is redeemed by Kore-eda Hirokazu’s customarily bracing humanism.
  28. The Fabelmans
    The Fabelmans is a provocative investigation of the cinematic medium from one of its great masters.
  29. Holy Spider
    Holy Spider trickily manages to bridge the gap between social realism and exploitation cinema in a way that hints at how both are rooted in a similar place of gritty authenticity.
  30. De Humani Corporis Fabrica
    Lucien Castaing-Taylor and Véréna Paravel’s film is one of the supreme cinematic examinations of the body’s magnificent malleability.
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