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 6.3 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: 4,346 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. 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.
  2. 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.
  3. Transit
    Christian Petzold’s lean, rigorous filmmaking proves essential as the story begins to run, deliberately, in circles.
  4. Suspiria
    Luca Guadagnino's Suspiria is a funereal pseudo-realist drama about political upheaval and the violence of systems that's at odds with itself.
  5. Shirkers
    Sandi Tan's view of what the original Shirkers represented, and what her new film should be, proves surprisingly expansive.
  6. Life and Nothing More
    Antonio Méndez Esparza crafts a revealing portrait of life as lived under a regime of race and class oppression.
  7. 1985
    Adrian is too flat as a character, his plight too generic, for his tears to count as something other than a sentimental ready-made.
  8. The Price of Everything
    The film understands that money is a defining element of art-making, whether or not we wish to admit it.
  9. Johnny English Strikes Again
    Relying on such arcane gags as prat falls in knight’s armor, fake French accents, and an array of gadget-based explosions, Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
  10. The Waldheim Waltz
    Despite Beckermann’s contemplative, even-tempered tone, The Waldheim Waltz gradually builds outrage at the subterranean persistence of fascism in postwar politics.
  11. Caniba
    Throughout Caniba, there’s a singularly disquieting relationship between the filmmakers’ formal experimentation and their subject.
  12. Galveston
    The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
  13. The Guilty
    The Guilty is a taut chamber thriller dominated by the flinty yet highly emotive visage of actor Jakob Cedergren.
  14. On Her Shoulders
    The film is most interested in homing in on the ways Nadia Murad's fragility and self-doubt arise as collateral damage from her fame and steadfast activism.
  15. Apostle
    The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
    • 66 Metascore
    • 75 Critic Score
    306 Hollywood
    Elan and Jonathan Bogarín's film blends various tones and visual styles with confidence and infectious exuberance.
  17. An Evening with Beverly Luff Linn
    The absence here of a joke is meant to be hilarious, or to at least congratulate the audience for willfully submitting to a denial of pleasure. Every element of the film is studiously, painstakingly random.
  18. The Sentence
    Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor.
  19. A Faithful Man
    It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.
  20. Barbara
    In Barbara, the process of filmmaking is shown to be a nesting series of shells that allow one to be simultaneously freed and lost.
  21. Sadie
    Sadie remains a clear-eyed portrait of maternal love, teenage turmoil, and the singular type of tight-knit bonds formed, out of necessity in many cases, in low-income communities.
  22. The Ballad of Buster Scruggs
    In their best films, the Coens mine the depths of loneliness and egotism and frailty and solipsism. But in THE BALLAD OF BUSTER SCRUGGS there's a noticeable lack of deeper insinuation, a lack of curiosity.
  23. MFKZ
    The bulk of MFKZ is composed of chases and shoot-outs that, despite their chaotic energy, drive the plot forward at a plodding pace.
  24. The Oath
    Even while it asks us to recognize ourselves in a world not too distant from our own, The Oath seems to say that the worst part of a full-fledged American dystopia would be the ruined holiday dinners.
  25. 22 July
    That a drop from John Williams’s Jaws score wouldn’t be out of place on this film’s soundtrack goes to show how tactlessly Paul Greengrass milks tragedy for titillation.
  26. Venom
    The final act's full-tilt embrace of action effectively undermines Tom Hardy's flashes of actorly idiosyncrasy.
  27. Heavy Trip
    Its story distances heavy metal from any whiff of toxic masculinity by setting Turo and company against homophobes and rakes.
  28. The Happy Prince
    For every haunting sequence in The Happy Prince, there’s five that redundantly wallow in Oscar Wilde’s misery, which is Rupert Everett’s point, but it becomes wearisome.
  29. Studio 54
    The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies.
  30. Bad Times at the El Royale
    The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
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