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. The Current War: Director's Cut
    The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
  2. The Irishman
    Scorsese knows what his audience is hoping for: glory days, resurrected. But he also understands the impossibility of anyone being exactly as they once were. So he weaves that longing into both The Irishman‘s text and its technique.
  3. 10 Minutes Gone
    Almost every element of the film has been seemingly engineered to be the ne plus ultra of slapdash ineptitude.
  4. In My Room
    In My Room often exhibits an interest only in the accruing of incidents, giving it a this-happens-then-this-happens quality that defiantly eschews psychological shading.
  5. The Day Shall Come
    The film is an aimless, albeit sometimes funny, chronicle of absurd behavior and government ineptitude.
  6. The Death of Dick Long
    Daniel Scheinert’s film finds a very human vulnerability lurking beneath the strange and oafish behaviors of its male characters.
  7. Abominable
    The second half’s series of hollow visual spectacles foreground the film as a corporate product.
  8. First Love
    First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.
  9. Rambo: Last Blood
    The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.
  10. Ad Astra
    In a future where the plagues of civilization have only evolved into new shapes and sizes, it asks, in a roundabout way, if there’s anything worthier of exploration than our own relationships.
  11. Judy
    Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
  12. Loro
    Like most of Paolo Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
  13. Promare
    Promare often feels like a maximalist season finale trimmed of any build-up, a climax that’s outstanding to watch yet empty beyond its pure spectacle.
  14. I Was at Home, But
    Angela Schanalec’s film configures itself most potently in hindsight as a punch to the gut.
  15. Midnight Traveler
    Balancing rough-edge verité with highly composed images and a meticulous structure, it doesn’t preclude itself from finding something like poetry in its subjects’ struggles.
  16. Young Ahmed
    The Dardennes maintain a distance from Ahmed as a way of celebrating their refusal to reduce him to any easy psychological bullet points.
  17. Oh Mercy!
    Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime.
  18. Villains
    Maika Monroe’s engaging performance serves only to highlight how feeble and unconvincing the rest of the film is.
  19. Marriage Story
    Throughout, the subtle glimpses of a couple’s lingering affection for one another complicate the bitterness of their separation.
  20. The Laundromat
    Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
  21. Harriet
    Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible.
  22. The Moneychanger
    It’s apparent that Veiroj disdains no one so much as Humberto, but the film makes vanishingly little of the man’s undoubtedly twisted psyche.
  23. Where's My Roy Cohn?
    This sharp, to-the-point portrait of the crook, fixer, and right-wing pitbull resists the urge to darkly glamorize him.
  24. Waves
    This is a rare case of a film that’s stronger when it colors inside the lines than radically traces outside of them.
  25. Martin Eden
    Pietro Marcello’s film works better as a story of self-loathing and self-destruction than it does as a social critique or political statement.
  26. Hustlers
    The film is remarkable for capturing a brewing conflict between women while also celebrating their connection.
  27. Motherless Brooklyn
    Motherless Brooklyn feels altogether too tidy, a film that revives many of the touchstones of noir, but never that throbbing unease that courses through the classics of the genre.
  28. Fire Will Come
    The film is much more in synchrony with the haziness of its imagery when it preserves the awkwardness between characters, the impossibility for anything other than life’s basic staples to be exchanged.
  29. Ford v Ferrari
    At a time when the nation continues to weigh the fate of its auto industry, James Mangold’s depiction of the Ford Motor Company facing its first major financial threat transparently plays to nostalgic reveries of the industry’s golden age.
  30. Uncut Gems
    In the film, a man's individual tragedy illuminates the emptiness of the systems that define him.
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