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. Girl
    Lukas Dhont isn't really concerned with Lara's journey to find peace and balance, as he's interested only in her downward spiral of crisis.
  2. Jonathan
    The dichotomy represented by Jonathan and John is too clean for the film's exploration of a divided psyche to ever feel particularly complex.
  3. The Grinch
    The film’s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.
  4. El Angel
    El Angel‘s greatest accomplishment is in the way it charges the relationships between characters with so much eroticism but never grants us the right to watch desire — other than desire for violence — actually unfold.
  5. The Front Runner
    The film quickly reveals that the only angle it’s interested in is the one that most sympathizes with Gary Hart.
  6. Chef Flynn
    At times, Cameron Yates appears to be too protective of his subjects, which somewhat neuters the drama of the narrative.
  7. Outlaw King
    Outlaw King rattles along at a bracing pace, but the assured bloodshed of the final showdown looms large, casting a weary shadow over the film’s middle section.
  8. The Girl in the Spider's Web
    Fede Álvarez’s film suffers from a compulsion to be capital-C cool, and all of its ostensibly stylish shots are untethered to any semblance of a sustained reality.
  9. Weightless
    The title Weightless is an apt description for this stylish but emotionally inert film.
  10. Of Fathers and Sons
    The film's verité approach risks humanizing Abu Osama, but we eventually gain a complex understanding of the banality of his evil.
  11. The Long Dumb Road
    Director and co-writer Hannah Fidell's film never finds the right mix of meaningful parable and sophomoric romp.
  12. A Private War
    A Private War ultimately sides with the late journalist’s assertion that the whos and whys of war matter far less in journalism than finding the right human-interest angle to hook an audience.
  13. Distant Constellation
    The film exposes the idea of places as metaphors, mirrors, and symptoms for the people who inhabit them.
  14. Searching for Ingmar Bergman
    Margarethe von Trotta's documentary reminds us of the reasons for Bergman's continued influence on cinema today.
  15. The Nutcracker and the Four Realms
    One may wish that the entire film had restaged the entirely of Tchaikovsky's ballet rather than reimagine it as an ultimately lifeless epic fantasy.
  16. The Grief of Others
    This a much leaner film in terms of narrative incident than In the Family, though it paves the way for Patrick Wang to step into new artistic terrain.
  17. They'll Love Me When I'm Dead
    Morgan Neville understands Orson Welles's art to pivot on an ongoing quest to bring about self-destruction so as to contrive to transcend it.
  18. The Other Side of the Wind
    The Other Side of the Wind isn't a novelty item, but a work of anguished art that's worthy of its creator.
  19. 9 Fingers
    Despite all its confoundments, 9 Fingers works as a unified whole thanks to F.J. Ossang's playful sense of humor.
  20. Bodied
    The anti-P.C. scorn that establishes a white boy's nervous entry into rap gradually becomes a sincere, if hilarious, treatise on the impossibility of reducing art to value judgments.
  21. Maria by Callas
    The film is less hagiographic than most documentaries of its kind, which isn't to say that Tom Volf's adoration of his subject is ever in doubt.
  22. Boy Erased
    Good as Lucas Hedges is at acting the tortured teen, Jared is finally too much of a cipher for his story to really hit with the force that it should.
  23. A Bread Factory Part One: For the Sake of Gold
    Wang’s particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles, and here he manages to defend the importance of art, attack the neoliberal devastation of cultural liberalism, and argue for the renewed public commitment to the arts from a wryly comic perspective that eschews sentimentality.
  24. A Bread Factory Part Two: Walk With Me a While
    Patrick Wang's particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles.
  25. Border
    The film’s slow reveal of its fantastical elements, which evoke the erratic, dreamlike strangeness of folk tales, makes them all the more unsettling.
  26. Hunter Killer
    The film is a second-rate airport thriller that makes The Hunt for Red October seem like nonfiction by comparison.
  27. Dovlatov
    According tot he film, truly courageous artists aren't necessarily the ones who tackle the state head-on, but rather the ones who stay true to themselves even when no one likes what they have to say.
  28. Bohemian Rhapsody
    This charitable act of resuscitation for the benefit of Mercury’s admirers is something that the film as a whole ultimately fails to accomplish, as Bohemian Rhapsody mistakenly believes that simply trudging through a workmanlike overview of the Queen frontman’s life will allow it to arrive at something approaching intimacy.
  29. What They Had
    What They Had gracefully coasts on its patient observations of one family’s dynamics, but once the third act hits, Elizabeth Chomko goes about neatly tidying up seemingly every loose end.
  30. Transit
    Christian Petzold’s lean, rigorous filmmaking proves essential as the story begins to run, deliberately, in circles.
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