Slant Magazine's Scores

Select another publication »
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
view
per page
  1. An Unfinished Film
    If the frames of Lou’s previous work suggested that reality was something that could be unlocked and unfurled, An Unfinished Film’s presentation of reality as it basically was unfortunately gives the filmmaker, and the audience, little to discover.
  2. Les Misérables
    The film serves as both caustic update to Victor Hugo’s monolithic novel and cautionary tale about the future.
  3. Kajillionaire
    The precarity and itinerant lifestyle of the central figures in Kajillionaire can be seen as a logical next step in Miranda July’s filmmaking trajectory.
  4. Long Strange Trip
    The film plays like one of the Grateful Dead's seminal concerts: protracted and digressive, yet intricate in its design.
  5. Styx
    The film is a penetrating an indictment of the bureaucratic obstacles placed in front of refugees.
  6. Sujo
    Befitting the unseen forces that seem to drive the characters, writer-directors Fernanda Valadez and Astrid Rondero bring a haunted, dreamlike undercurrent to the film similar to sequences from their prior collaboration, Identifying Features.
  7. Sanatorium Under the Sign of the Hourglass
    Sanatorium Under the Sign of the Hourglass becomes a film about its own condition of being an outsider to its own time, lost as it is in the aesthetics of another time that it views with a kind of nostalgic disquiet.
  8. Top Gun: Maverick
    The film fully surrenders to the grandiose fun that’s marked the best of Tom Cruise’s recent star vehicles and reaffirms Joseph Kosinski as a blockbuster craftsman par excellence.
  9. BlackBerry
    By emphasizing the people in its tech tale, and the comedic possibilities in their mismatch, rather than the gee-whiz factor, Matt Johnson frees BlackBerry from the need to convince its audience how important the invention at its center was.
  10. Tori and Lokita
    The film subjects its main characters to one indignity after another, and to such a suffocating degree that it crosses the line between representation and exploitation.
  11. 3 Faces
    Whenever Panahi's architecturally rigorous study of the self, society, and artistic communion threatens to get too self-conscious or loaded, the filmmaker tends to leaven the tension with humor and gentle irreverence.
  12. Oddity
    Thanks to its expert staging, the film doesn’t lose much in the way of immediacy.
  13. Luzzu
    Alex Camilleri’s most significant departures from his influences take place on the level of content, but, thankfully, they strain the integrity of the neorealist framework just enough to keep Luzzu fresh, if not revolutionary.
    • 78 Metascore
    • 100 Critic Score
    Lifeboat
    Lifeboat is actually much more complicated than it first appears. Its emphasis on moral debates in dialogue can seem a little dry, but Hitchcock’s shifting sympathies guarantee our guilty involvement with the characters until he builds to a climax of intellectual and spiritual excitation.
    • 78 Metascore
    • 75 Critic Score
    The Witches
    At the center of Roeg’s stylistic excess is Houston, balancing effortlessly between high camp and horror.
  16. Airplane!
    The punchlines come quick and thick, with little foreplay or consideration for anything other than getting a physical reaction from the audience.
  17. birth/rebirth
    Birth/Rebirth serves as a perverse correction, recalibrating decades of dilution to reemphasize the moral weight and emotional anguish at the heart of Shelley’s novel.
  18. Warfare
    This is a formidable technical showcase and obsessive forensic recreation whose imposed formal limitations become meaning-making ends in and of themselves.
  19. Beware of Mr. Baker
    Jay Bulger's seemingly erratic documentary formally channels Ginger Baker's almost defiant refusal to lead a life that adheres to a linear narrative.
  20. Castle in the Sky
    Miyazaki’s concerns with the fragility and wonder of our less tangible surroundings haunt the picture without overpowering it.
    • 78 Metascore
    • 63 Critic Score
    Public Speaking
    If you’re a longtime fan of the truly iconoclastic essayist...expecting to learn what makes her tick then Public Speaking, Martin Scorsese’s loving profile of the early bloomer who subsequently spent a decade with “writer’s blockade,” is certain to disappoint.
    • 78 Metascore
    • 63 Critic Score
    In the Fog
    Sergei Loznitsa occasionally writes his ideas too explicitly in the film's dialogue, though he makes up for this by deftly employing some ironic symbolism elsewhere.
    • 78 Metascore
    • 88 Critic Score
    The War Room
    The buddy-film dynamic between braniac lead strategist James Carville and telegenic communications director George Stephanopoulos provides The War Room with a compelling through line and emotional cornerstone.
    • 78 Metascore
    • 75 Critic Score
    Police Story (1985)
    Like many of the most compelling martial-arts movies, the Police Story films more closely resembles a dance picture than any kind of action blockbuster, with meticulously choreographed fight sequences standing in for fan-baiting musical numbers.
  25. Dìdi
    The film speaks unflinchingly to the unique anxieties and frustrations of early teenhood.
  26. After Yang
    Kogonada’s film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lenses of the ruling class.
  27. Argentina, 1985
    For a film about the crimes of a fascist military dictatorship that employed mass torture, rape, kidnapping, and murder as weapons of social control, Argentina, 1985 sure goes down smooth.
  28. Ernest and Celestine: A Trip to Gibberitia
    A unique joie de vivre courses through A Trip to Gibberitia’s every meticulously composed frame.
  29. Gloria Bell
    The film’s open-ended narrative tends to be undermined by the simplicity of its thematic signifiers.
  30. Monos
    Alejandro Landes’s film depicts amorality with minimal curiosity and a surplus of numbing stylistic verve.
Page:

Top Trailers

See all »
See all trailers »