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. Another Round
    Thomas Vinterberg’s latest, like The Hunt, is ultimately a parable about breaking a social contract.
  2. Shiva Baby
    Emma Seligman’s film effectively builds tension from what is a relatively familiar, low-key scenario.
  3. Searching for Sugar Man
    Despite crafting a consistently engaging film, the director doesn't present the full scope of Sixto Rodriguez's life.
  4. Sing Street
    All traces of grit from John Carney's earlier films have been scrubbed away in favor of relentlessly crowd-pleasing slickness.
  5. Brawl in Cell Block 99
    Brawl in Cell Block 99 rarely drags, even when delivering exposition, and the economy of the storytelling is as efficiently brutal as the eventual skull-crackings.
  6. The Law in These Parts
    A film for those who, whether here or in Israel, believe the law is the beginning, and not the end, of rights discourse.
  7. Official Competition
    Official Competition is another film about filmmaking, but it escapes hermeticism by homing in on actors and acting.
  8. Li'l Quinquin
    It resembles a satirical treatise of self-reflection, functioning simultaneously as a summation of Bruno Dumont's thematic interests over the previous two decades and as a bonkers remake of Humanité.
  9. Sand Dollars
    It respects and plumbs the feelings of all three main characters while surfacing the economic, ethnic, cultural, and gender power imbalances in their relationships.
  10. Leonard Cohen: Bird on a Wire
    Cohen here is ever the model of grace and dignity around his peers, if not exactly entirely at peace with himself.
  11. Priscilla
    Priscilla’s delicate mystique struggles to free itself from an oppressive mood board imposed from without by six decades of history.
  12. The Innocents
    The Innocents adopts a slasher-esque vibe that, however airlessly aestheticized, feels lurid for the sake of being lurid.
  13. Contemporary Color
    The Rosses share David Byrne’s interest in the minutiae of habitats and the comforting enclosure they provide along with the discomfiting constriction of anonymity.
  14. The Painter and the Thief
    Throughout the documentary, Benjamin Ree upsets conventions, offering a moving portrait of two lost souls.
  15. Black Bear
    Shot through with darkly existentialist humor, the film finds Aubrey Plaza throwing a gauntlet to filmmakers who have typecast her in the past.
  16. Our School
    The filmmakers spend vastly more time chronicling bigoted remarks from Romanians about gypsy life than they do actual gypsy life, so a minor crisis of perspective hangs over Our School.
  17. Our Children
    It's occasionally too icily removed, but it compensates through its perpetual concern with understanding its characters and their untenable situations.
  18. i'm thinking of ending things
    The film has a weird, ghostly, even beautiful pull, but it functions mostly on theoretical terms because Charlie Kaufman has thought it to death.
  19. Angels Wear White
    In her understandable fury, Vivian Qu almost valorizes suffering, embracing it as a substantial signifier of identity.
  20. Lurker
    The artist and audience member are coequal—and codependent—in this perceptive drama about a parasocial relationship that enters the realm of reality.
  21. Lady and the Tramp
    Befitting its middle-ish chronological position, it’s not surprising that the serviceably cute but mundane Lady—a turn-of-the-century ditty about two love struck dogs from opposite sides of the gated community—might be the most ignorable, least assertive production of their golden era.
  22. Indignation
    James Schamus's screenplay is rich with culturally specific details that deepen these forking moral predicaments.
  23. The Devil's Backbone
    With The Devil's Backbone, Del Toro pulls an Amenábar by dishing out sophisticated war commentary with bone-chilling dread.
  24. Oki's Movie
    Hong Sang-soo once again corroborates auteurist theory at the same time that he reveals the potential shortcomings of its practice.
  25. Speak No Evil
    Until its contrived conclusion, the film plays as a queasy satire of conditioned interpersonal behavior.
  26. The Queen
    A quaint portrait it’s not, and aside from the conditions of the rat-trap midtown hotel where the competing queens are put up in, it’s hardly fly-on-the-wall either. While it presents its subjects at arm’s length, The Queen consistently recognizes the constraints they face.
  27. Kontinental '25
    Radu Jude’s cinema isn’t exactly absurdist, though it exposes the absurdities of a present reeling from the unresolved injustices of yore.
  28. Thirty Two Short Films About Glenn Gould
    From its rigorous and deliberately distancing structural gambit to its restless stylistic experimentations, Thirty Two Short Films proves that biopics needn’t color within the lines to effectively portray their subjects.
  29. Enough Said
    Enough can't be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener's latest articulation of white suburban anxieties.
  30. A Different Man
    The film’s overarching dramatic irony leaves one to ponder the deliberately discomfiting question of whether it’s possible to extricate the experience of disability from the way spectators define its essence.
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