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. Nope
    The film’s fantastical meta-commentaries don’t completely cohere but have a winning go-for-it audaciousness.
  2. My Old School
    The film is a perfectly entertaining retelling of an offbeat tale, but it’s also superficial and borderline exploitative.
  3. The Gray Man
    The Gray Man is a noisy, flashy spectacle that piles clichés atop ludicrous plotting and sprinkles it all with half-funny quips, all in the hope of bulldozing the audience into submission.
  4. Where the Crawdads Sing
    The film spins a soapy yet dramatically inert and often tone-deaf yarn about societal rejection and female empowerment in the wetlands of North Carolina.
  5. She Will
    She Will can’t decide if its horror or comedy, nor does it strike the balance that would harmoniously hybridize them.
  6. The Deer King
    The Deer King leaves one with the impression that it hasn’t given itself enough room to truly soar.
  7. Gone in the Night
    The film’s ominous atmosphere derives less from the mystery of a disappearance and more from the scary business of getting older.
  8. Pacifiction
    Pacifiction uses its thin narrative elements as a pretense to explore the texture of uncertainty, suspicion, and inaction.
  9. Marx Can Wait
    Marco Bellocchio uses his film, a delicate mix of biography and autobiography, as the catalyst for long-delayed therapy.
  10. Persuasion
    The film proves again that the modern-day veneration of Jane Austen as the patron saint of the rom-com is also an act of simplification.
  11. Murina
    With so much screen time devoted to portraying its main character’s complexities, the other characters remain half-developed, and to the detriment of the film’s themes.
  12. This Much I Know to Be True
    The accumulating effect of this airy and resonant film’s formal devices is that of a heartbroken artist learning to reengage with society.
  13. Thor: Love and Thunder
    Across Taika Waititi’s film, a war against the gods feels like an afterthought to a bad rom-com.
  14. Mr. Malcolm's List
    The period romance has been increasingly experimented with in recent years, yet both straight dramas and convention-spoofing comedies almost always end up upholding the strict boundaries of the genre as if to prove the limits of reimagining the past.
  15. The Black Phone
    Scott Derrickson and C. Robert Cargill are adept enough at setting up rich, evocative horror concepts, but they don’t always know what to do with them once they’re in place.
  16. Marcel the Shell with Shoes On
    Dean Fleischer-Camp’s Marcel the Shell with Shoes On convincingly proves that bigger sometimes is better.
  17. Elvis
    The protracted rubbernecking at Elvis’s inexorable decline epitomizes a film that regularly backs away from its keenest observations about the icon to merely, and superficially, bask in his star power.
  18. Lightyear
    The film is a slickly produced but soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.
  19. Spiderhead
    By resolving its story around a mano-a-mano, the film narrows its understanding of a system in which exploitation is privatized.
  20. Good Luck to You, Leo Grande
    The film abounds in honest and at times disarmingly off-the-cuff moments that are borne out of character contrasts.
  21. Official Competition
    Official Competition is another film about filmmaking, but it escapes hermeticism by homing in on actors and acting.
  22. Brian and Charles
    The original Brian and Charles short focused entirely on its titular characters, and it’s clear that was for the best.
  23. Jurassic World Dominion
    When Dominion isn’t suffocating itself with world-building, much of it frustratingly untapped, it’s wholly given over to corny fan service.
  24. Funny Face
    The clothing may be couture, but Funny Face’s plot is strictly wash, rinse, repeat.
  25. Hustle
    Hustle doesn’t really seem to know who its characters are, much less how they fit into the complicated web of sports, media, and finance that defines the NBA.
  26. Mad God
    Mad God offers a dense cornucopia of genre-fueled outrageousness that’s gradually united by a concern with cycles of warfare.
  27. Lost Illusions
    Lost Illusions leans heavily on voiceover narration that, for better or worse, draws attention to its novelistic mode of its storytelling.
  28. The Phantom of the Open
    The film loses its satiric edge as it begins to melodramatically detail how Maurice Flitcroft inherited the mantle of folk hero.
  29. Dashcam
    Dashcam is nothing if not consistent, as it’s every bit the empty provocation as the troll at its center.
  30. Crimes of the Future
    David Cronenberg stares upon humanity’s need to evolve toward some kind of survival with a serene, godlike assurance.
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