Slant Magazine's Scores

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For 7,775 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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  1. Cow
    Throughout Andrea Arnold’s film, a kind of affective connection is formed between animal and the cinematic apparatus.
  2. West of Memphis
    By taking a disturbing and sometimes conflicted look at the prejudices that led to the West Memphis Three's imprisonment, it asks murky questions about how people could get something so wrong for so long.
  3. Papirosen
    Gastón Solnicki's mapping out of his family's narrative from within never feels exploitative or self-absorbed.
  4. Arabian Nights: Volume 3, The Enchanted One
    Miguel Gomes combats austerity with expansiveness, leavened by doses of frivolity and scatology.
  5. Wildlife
    Wildlife is at once loquacious and laconic, a film in which simple words hold unspoken and unequivocal power, and the space between banal utterances become chasms.
  6. Red Rooms
    Red Rooms interrogates how the only thing preventing someone from being sucked down a moral whirlpool is to catch sight of their own zombified reflection on their computer screen.
    • 80 Metascore
    • 75 Critic Score
    Mr. Nobody Against Putin
    The film starkly reveals the toll propaganda takes on everyday individuals and communities.
  8. El
    Though set in Mexico and ripe with authentic details from daily life, Él is less a portrait of machismo gone awry than it is a brutal and absurd glimpse at one man’s runaway paranoia.
  9. Senna
    Asif Kapadia's documentary is ultimately less affecting and insightful on a universal thematic scale than on an individual, personal one.
  10. The Lost Leonardo
    The Lost Leonardo deals less with absolutes than fungible notions of perception and power.
  11. Time Bandits
    Good as the cameos are, however, the lasting draw of the film is its exceptional aesthetic. Gilliam keeps his camera low in a child’s perspective, and wide-angle lenses only exacerbate the magnified sense of scale that everything has.
    • 79 Metascore
    • 88 Critic Score
    Beyond the Hills
    It's Cristian Mungiu's staging and compositional skill that lends the material its true sense of dawning dread.
  13. Wife of a Spy
    Wife of a Spy could use a streak of live-wire, huckster crudeness, a bit of melodrama delivered in an unselfconscious manner.
  14. Orlando, My Political Biography
    Orlando, My Political Biography languishes in an undefinable interstitial space, floating between fiction and essay film.
  15. Working Woman
    Michal Aviad’s film forcefully brings home a reality that many of us have been aware of only intellectually.
  16. The Sessions
    It's the rare film to sell sex as something truly tender and life-affirming, and Helen Hunt, in particular, is lovely and poignant.
  17. Mank
    The film's most haunting sequences are self-contained arias in which characters grapple with their powerlessness.
  18. Winter on Fire: Ukraine's Fight for Freedom
    This is activist filmmaking that manages to be both angry and elegiac in its recounting of the 2014 Ukrainian revolution.
  19. Annihilation
    Annihilation gets momentum from the deeper it pushes into the uncertainties of ecology and the self.
  20. An Unmarried Woman
    Mazursky finds the politics in the wrinkles of human behavior, rather than contriving behavior to suit his politics.
  21. Pariah
    It's important to talk at length about Pariah's aesthetic because of how it distracts from the emotional truthfulness of the sometimes heartbreaking, by and large gorgeously performed story.
  22. Stray Dog
    Ron "Stray Dog" Hall proves to be a welcome antidote to stereotypes about burly, bearded red-state RV dwellers.
  23. Downeast
    An exposé of how the financial structures that make businesses possible in America seem to conspire against genuine good will and non-self-serving ambition.
  24. She's Gotta Have It
    Lee’s first film statement conveys the communal experience.
  25. Pride
    The film the tough true story has spawned is as formulaically cheery, didactically "uplifting," and fundamentally false as a Disney sports movie.
  26. Ava
    The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.
  27. Babygirl
    It’s not a film about saying the right thing so much as it’s about people mutually arriving at the right place—no matter the untidiness involved in getting there.
    • 79 Metascore
    • 75 Critic Score
    El Cid
    There’s no denying El Cid‘s lucid grandeur as it reaches its famous climax, a simultaneously triumphant and tragic portrait of the warrior as corpse that, like the best of Mann’s work, never neglects the human toll of heroism.
    • 79 Metascore
    • 50 Critic Score
    Nam June Paik: Moon Is the Oldest TV
    The film might have benefited from taking a page out of Nam June Paik’s Zen for Film and slowed down its flow.
  30. Photographic Memory
    Ross McElwee is less anxious of death itself than of finally comprehending the vast faultiness of the life he's lived.
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