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. Daughter of Mine
    Unlike My Life in Pink, Daughter of Mine sidesteps all ambiguity, as the film reveals everything about its characters straight away, leaving little room for unexpected complexities about their predicaments to develop.
  2. Piercing
    If the film is mildly disappointing, it’s because it doesn’t go far enough. It confidently prepares us for a frenzy that never quite materializes.
  3. The LEGO Movie 2: The Second Part
    The deconstruction of corporatized play culture gets run through the sequelizer machine, with predictably acrid results.
  4. Outlaws
    The grim Australian biker drama Outlaws is little more than an endless stream of brooding, yelling, and “badass” posturing broken up by grisly violence and gratuitous sex scenes.
  5. The Wild Pear Tree
    Nuri Bilge Ceylan’s film takes a leisurely approach to narrative that’s both intensely dialogical and transfixingly visual.
  6. Never Look Away
    Florian Henckel von Donnersmarck’s film prioritizes the sentimental over the true, the tidy moral over the messy reality.
  7. Polar
    The film’s horniness and amorality, a slap in the face of fanatically cautious contemporary mores, might’ve been more shocking if it weren’t placed so firmly in quotation marks.
  8. Serenity
    The film’s twist ending exists only to retroactively justify writer-director Steven Knight’s feeble stylistic choices.
  9. Tito and the Birds
    The Brazilian animated feature offers relief from the impersonal assault of contemporary pop culture.
  10. The Invisibles
    The film doesn’t bring to light otherwise unexplored aspects of the experience or memory of persecution and genocide.
  11. The Image Book
    It’s through exercising a certain kind of madness that the film connects even at its most disjointed.
  12. The Kid Who Would Be King
    Joe Cornish’s film is vigilant in its positivity and hope for the future at nearly every turn.
  13. Glass
    M. Night Ghyamalan’s film is aimed at an audience from whom he cringingly craves fealty.
  14. An Acceptable Loss
    Writer-director Joe Chappelle’s An Acceptable Loss is a B movie with a morally urgent message.
  15. The Heiresses
    Ana Brun’s performance as Chela anchors our attention where Marcelo Martinessi’s understated visuals might otherwise lose it.
  16. Fyre
    Chris Smith’s documentary about the 2017 Fyre Festival implosion resists the urge to revel in cheap social media schadenfreude.
  17. Adult Life Skills
    The film uses the grieving process to lend the proceedings a sense of unearned emotional gravitas.
  18. Perfect Strangers (Perfectos Desconocidos)
    Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement.
  19. Replicas
    The climax’s bizarre left turns culminate in a final image so bewildering that were the film not so relentlessly dour it might have clarified Replicas as an absurdist comedy.
  20. The Upside
    The film becomes overrun by an increasingly preachy and tiresome series of life lessons about race, class, and love.
  21. Touch Me Not
    Touch Me Not‘s commingling of narrator and narrative, character and actor, fiction and documentary suggests that cinema itself is capable of being a manner of touch, the site of a nebulous and freeing encounter between people.
  22. The Aspern Papers
    The words of Henry James have never sounded as leaden and preposterous as they do in Julien Landais’s The Aspern Papers.
  23. The Venerable W.
    The Venerable W. is at times downright dowdy, but there’s an ever-present sense of rage and despair burbling beneath its placid surface.
  24. The Vanishing
    The Vanishing seems truly troubled by its action violence in a way that many similar thrillers aren’t.
  25. Second Act
    A blatantly telegraphed mid-film twist helps turn Second Act into one of the strangest and most misguided rom-coms of any year.
  26. Welcome To Marwen
    The whole endeavor feels like a disservice to Mark Hogancamp’s story, in no small part because no one in the film feels human, even outside doll form.
  27. Bumblebee
    Bumblebee exudes some of the tediousness of a reformed sinner who decries hedonism, trying hard to convince us that it now believes in something.
  28. Vice
    Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
  29. Destroyer
    The filmmakers treat their material sternly and humorlessly, as if there's some great moral lesson to be imparted from Erin's inexhaustible blotto jerkiness.
  30. Bird Box
    Many sections of Bird Box don’t hold up to a second’s scrutiny; the conceit’s silliness and convenient scare tactics make Shyamalan’s take on infectious-suicide horror seem downright subtle by comparison.
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