Slant Magazine's Scores

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For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. Montana Story
    The film is initially distinguished by its poetic understatement, only for it to eventually succumb to staleness.
  2. I'm Glad My Mother Is Alive
    An understated--and at times, clinical to a fault--Oedipal drama of long-simmering resentment and familial love's ambiguities, I'm Glad My Mother Is Alive risks bringing chilly subjectivity to sensational raw material.
  3. Something, Anything
    The film turns what at first seemingly appears as Kodak moments into a study of a soul in transition.
  4. Emergency
    Emergency is uneven, but it’s grounded by dynamic performances and a vivid portrayal of the minutiae of friendship.
  5. Flowers of Shanghai
    Flowers of Shanghai operates on the whole much like Yoshihiro’s music, filling your senses like a thick haze, holding you rapt without petitioning for your attention.
  6. Train to Busan
    When divorced of message-mongering, the film’s scare tactics are among the most distinctive that the zombie canon has ever seen.
  7. American Sniper
    Clint Eastwood startlingly grips the audience with his sense of hypnotic silence, which carries suggestions of what might be termed politically apolitical pragmatism.
  8. The Raft
    The film uses Santiago Genovés’s experiment to scrutinize memory and capture the feeling of life under a very curious sort of dictatorship.
  9. The Pirates! Band of Misfits
    The film is content as it is to run clever one-liners and 19th-century pop-cultural references into the same comedic whirlpool.
  10. Never Gonna Snow Again
    With Never Gonna Snow Again, Malgorzata Szumowska presents a charm against apocalyptic despair but also willful ignorance, insisting that, with sufficient imagination, we can face a climate crisis of our own making.
  11. Family Portrait in Black and White
    Julia Ivanova, a Canadian filmmaker, doesn't judge Olga; she refuses to see her through the eyes of a presumably better-off first-world citizen.
  12. Milford Graves Full Mantis
    Jake Meginsky's documentary is insular, precious, and too pleased with its unwillingness to reach out to the unconverted.
  13. The Forgiveness of Blood
    The film wisely avoids giving its material a large-scale epic quality it can't sustain, but it also results in a project that lacks the complexity to register as more than a handsome little sketch.
  14. Funny Pages
    Funny Pages eschews the platitudes and carefully scripted character arcs that often cause coming-of-age tales to feel not only predictable but coated in a sheen of nostalgia.
  15. Indie Game: The Movie
    Makes a compelling case for games as not only clever hand-eye coordination exercises, but also as manifestations of their creators' emotional and philosophical viewpoints.
  16. Declaration of War
    The surest sign that a filmmaker recognizes the insularity of his or her project is the presence of perfunctory attempts to hint at a wider political context.
  17. Anaïs in Love
    For all of its farcical overtones, the film contains many shrewd observations about the power games inherent in relationships.
    • 73 Metascore
    • 50 Critic Score
    The Clan
    The Pablo Trapero film's parallels are drawn so bluntly that they lose all suggestive force, since there's little left to suggest.
  19. Spider-Man: Homecoming
    By partially demonstrating what a newer, fresher superhero movie might look like, Homecoming ultimately underlines its own genre-defined limitations.
  20. Prince Avalanche
    The psychological path of these characters is finely marked with signposts, but as Prince Avalanche reaches its destination, you almost wish it would have gotten a little more lost in the woods.
  21. Puss in Boots: The Last Wish
    Given that big-studio children’s animation so often feels like it was created by algorithm, it’s refreshing to see a kid’s cartoon like <em>The Last Wish</em> that’s filled with too many ideas rather than too few.
  22. The Grandmaster
    The film, more likely to invite comparisons to the writings of Marcel Proust than the previous Ip Man films, is a gorgeous folly that never entirely emerges from its creator's head.
    • 73 Metascore
    • 75 Critic Score
    The Loved Ones
    Sean Byrne endows his rote slasher material with the kind of blackly comic wit and levity that virtually guarantee its entry into the contemporary midnight-movie canon.
    • 73 Metascore
    • 75 Critic Score
    Golden Slumbers
    It puts value back on people who've historically been undervalued, both by the Khmer Rouge and, by lack of mention, cinema history at large.
  25. Honey Boy
    In Alma Har’el’s film, Shia LaBeouf’s plays an avatar of his father as an expressionistic act of self-therapy.
  26. The Killer
    David Fincher dabbles in the pleasures of genre without ever allowing the outlandish scenario to be treated with more respect than it deserves.
  27. Little Feet
    This is a micro-budgeted affair of the heart that's never precious or obnoxious, but tender and moving and occasionally explosive in its intrinsic emotion.
  28. Splitsville
    Splitsville thrives on the unpredictability of this formal freedom before settling back into a familiar Hollywood narrative formula: the comedy of remarriage.
  29. Results
    Andrew Bujalski seizes upon physical training as a resonant metaphor for the work and risk that are inherent in cultivating significant interpersonal connections.
  30. Appropriate Behavior
    Desiree Akhavan's tale of queer post-breakup funk shows more nuance, and racial dimension, than its cinematic cousins.
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