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. Sick of Myself
    Kristoffer Borgli is unduly proud of himself for concocting his unlikable protagonists, and he marinates in their repulsive self-absorption.
  2. Mogul Mowgli
    The film’s poignancy derives from its profound understanding of its main character’s identity crisis.
  3. Being Elmo: A Puppeteer's Journey
    Not everyone's life is compelling enough to warrant the documentary treatment, but whether this truism applies to master puppeteer and current Sesame Street producer Kevin Clash is a question that Being Elmo: A Puppeteer's Journey, Constance Marks's fawning portrait of the Muppet- master fails to answer.
  4. Thirst Street
    It’s a testament to Nathan Silver’s keen sense of observation that we don’t want the film to turn decisively into thriller terrain.
  5. The Imitation Game
    Given the liberties the film takes, it's surprising that it refuses to penetrate Alan Turing's carnality and allow Benedict Cumberbatch to truly wrestle with the torment of the man's sexuality.
  6. Leap Year
    Leap Year is a story of survival, and its poised aesthetic is remarkably keyed to its main character's shell-like behavior.
  7. A Monster with a Thousand Heads
    The politics of the film are consistently muddled by director Rodrigo Plá's conspicuous formal choices.
  8. 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.
  9. Beetlejuice
    McDowall deftly keeps one foot in the here and the other in the hereafter, which allows Burton a unique opportunity to juggle two sets of funhouse effects.
  10. Robinson in Ruins
    Robinson's very name ties him to explorers like Crusoe and Walden, but he is also something like JLG's whispering leftist prankster who butted into 2 or 3 Things I Know About Her to intermittently spout rhetoric over images of freeways and construction sites.
  11. The Raid 2
    It's all showy viscera, no ballet, and wan attempts at the gravity of something like Drug War, with implicit statements made about the deadening nature of violence or the moral equivalency of state-sanctioned and criminal force, don't come close to cohering.
  12. Shang-Chi and the Legend of the Ten Rings
    On the screen, Shang-Chi is rotely defined by the same “gifted kid” impostor syndrome as so many other self-doubting MCU heroes before him.
  13. Luca
    Pixar’s most intimate and laidback effort since Ratatouille feels like a throwback to one of Mark Twain’s rollicking picaresque sagas.
  14. Prey
    Prey proves to be an apropos title, as the film is cowed by John McTiernan’s original Predator.
  15. Sweet Sweetback's Baadasssss Song
    Over 40 years after its release, Sweet Sweetback’s Baadasssss Song still retains its shock value, but even more so, it remains distinct as a work that cannot be squarely placed within a singular category.
  16. Seconds
    A beautiful x-ray of middle-aged existential crisis, Seconds is arguably a second-tier John Frankenheimer funhouse of paranoia, but the same might be said of any film that isn’t The Manchurian Candidate.
  17. Lenny Cooke
    While it verges on exploitation of the gentle giant at its core, it's also an effective bit of human drama, competently, and sometimes movingly, telling a story that deserves to be told.
  18. Searching
    As nimble as Aneesh Chaganty is in presenting his main character's multi-faceted interaction with technology in the first hour, the film suddenly morphs into a generic and manipulative missing-person thriller.
  19. The Menu
    For as potent as the film’s shocks can be in the moment, it’s difficult to shake off that the screenplay lacks for the breadth of variety that’s necessary to make more than just a restaurant’s tasting menu take flight.
  20. Seeking Mavis Beacon
    The film proves itself incapable of or unwilling to follow through on its ideas to an ultimate conclusion.
  21. One Lucky Elephant
    A uniquely passive reminder of the dangers of showering exotic creatures with anthropomorphic affection.
    • 71 Metascore
    • 88 Critic Score
    The Big Lebowski
    There are few films that genuinely get better with each successive viewing. The Big Lebowski is one of them. This is owed not only to its near-infinite quotability, which itself grows with time, given how much of the film’s humor is self-referential, but also because its tangled plot requires a substantial amount of unraveling before it can be fully understood and appreciated.
  23. Catch the Fair One
    The solemnity of Josef Kubota Wladyka’s film is at odds with the gratuitousness of its violence.
  24. Heretic
    Heretic intriguingly plays with our expectations of who the heroes and villains are in this scenario.
  25. Pete's Dragon
    It abandons its subtlety en route to becoming a moralistic screed about the preservation of the nuclear family.
  26. My Brother the Devil
    With My Brother the Devil, writer-director Sally El Hosaini tells a story both operatic in its implications and quotidian in its sensory, day-to-day details.
  27. Prevenge
    Alice Lowe evinces a knack for locating society’s most awkward pressure points, and a willingness to punch them.
  28. Gebo and the Shadow
    It defines Manoel de Oliveira's late period, during which his movies have continued to shrink in size and scope while remaining thematically expansive.
  29. Ema
    In the film, the literal union of bodies is the only logical means of conveying the reestablishment of emotional bonds.
  30. The Long Walk
    This ferocious adaptation of Stephen King’s 1979 novella as a passion play about class solidarity.
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