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. The Endless Summer
    True to its title, The Endless Summer exudes a blissful, mellow buzz that could easily be misconstrued as lazy or innocuous filmmaking.
  2. Self Reliance
    There’s never any danger of Self Reliance’s reach exceeding its grasp, but it gets a firm handle on the things it does want to achieve: tell good jokes, craft likeable characters, and strike a lighthearted tone that’s always just a little bit odder than you may be expecting.
  3. Arnold Is a Model Student
    Even at its most confrontational, the film maintains a carefully controlled deadpan tone.
  4. The Beasts
    The film is as much about the beastliness of outmoded machismo as it is about the perseverance and fortitude of women in opposition to it.
  5. Passion
    Passion already finds Hamaguchi Ryûsuke to be a superb orchestrator of moods and tones.
  6. Plan 75
    Because so much of Hayakawa’s film is given over to depictions of the procedures, formalities, and impersonal administration that define Plan 75, even the tiniest spark of feeling comes as a relief.
  7. House of Wax
    It’s Price that gives House of Wax its characteristic balance of elegance and lurid theatricality.
  8. The Oak
    The film’s naïve utopianism is infectious, demanding that we live as though life were worth it in spite of all evidence to the contrary.
  9. Winter Boy
    Christophe Honoré’s film tackles grief in a subtle, intriguingly indirect manner.
  10. The First Slam Dunk
    The First Slam Dunk is able to throw a relentless series of new gambits, twists, and reversals at the screen that will keep even seasoned sports film fans on the edge of their seat.
  11. Poor Things
    As imaginative as the film’s comedy can be, its greatest asset is Emma Stone’s ability to situate Bella Baster first as jester, then as the emotional foundation upon which the whole of Poor Things is built.
    • 88 Metascore
    • 75 Critic Score
    Pictures of Ghosts
    As always with Kleber Mendonça Filho, to reflect reality isn’t enough, as cinema has to find its own truth, even if it takes some imagination to get there.
  13. The Creator
    With The Creator, Gareth Edwards finally finds the balance between arresting images and grounded emotional stakes.
  14. The Snake Pit
    As Virginia grapples with her inner demons, as well as a memory loss that leaves her disoriented and unsure of who she can trust, The Snake Pit periodically transcends its archaic psychological trappings to become an empathic examination of a woman battling both the internal and external forces that seek to fully erase her sense of self.
  15. In Our Day
    For Hong Sang-oo, In Our Day is a gesture toward recognizing the beautiful, awful, and uncanny.
  16. Anatomy of a Fall
    At its best, Anatomy of a Fall is nothing less than a rigorous modern treatise on the knotty interpersonal dynamics of long-term relationships and how conveniently they can be distorted when exposed to public scrutiny.
  17. Four Daughters
    A fascinating metacommentary courses beneath the film’s emotional storytelling surface.
  18. The Breaking Ice
    The Breaking Ice is fixated on intense in-between states that work to separate people from each other and from themselves, as if to say self-acceptance and love aren’t destinations so much as journeys, at once formidable and worthwhile.
  19. Kidnapped: The Abduction of Edgardo Mortara
    The story is kept at a stress-inducing simmer, with occasional surges of operatic emotion.
  20. The Taste of Things
    The film views the love of food and romance as all one singular desire for everything beautiful and fleeting in life.
  21. Last Summer
    The film somehow feels tight, open and leisurely, and cloaked in dread all at once.
  22. The Old Oak
    If Ken Loach has always erred on making his political views impossible to misconstrue, he also knows how to keep his dramas from spiraling too far outside of plausibility.
  23. The Animal Kingdom
    The soft-pedaled approach to its narrative strands gives the film the feel of an extended TV pilot.
  24. Amanda
    Carolina Cavalli’s film consecrates a ferocity as refreshing as it is infectious.
  25. Woman of the Year
    Woman of the Year certainly has its other auxiliary charms: beautifully textured lighting by cinematographer Joseph Ruttenberg; a luminous, if limited, performance by Fay Bainter as Tess’s motherly aunt; and some enchanting simulations of soft winter snowfall. But it’s hard not to feel berated, in a time that’s seeing the resurgence of a pernicious nationalism, by both the film’s anti-feminist slant and its insistent compulsion to put a box around Americanism.
  26. The Graduates
    While Hannah Peterson, with her emphasis on quiet moments and mementos mori, effectively suffuses The Graduates with a mournful absence of life, she also reminds us of the warmth that can be so typical of high school.
  27. Rotting in the Sun
    At once an excoriating satire of the performativity of homosexuality within a social media-addled community as well as a seemingly earnest lament for the total loss of collectivity, the film minces neither words nor bodily appendages.
  28. Happer's Comet
    Whereas films like Halloween and Blue Velvet expose the violence and perversion that underlies the manicured artifice of so many suburban environs, Happer’s Comet, by means of a simple temporal displacement, gestures above all at their arbitrariness.
  29. The Eternal Memory
    Maite Alberdi’s film slowly reveals the personal loss of the ability to remember as inextricably linked to the loss of national memory.
  30. Ferrari
    That liminal space between the peaks and the valleys of a person’s life is what Michael Mann is most interested in exploring.
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