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. How to Talk to Girls at Parties
    The film's tagline goes “Talk to the girl. Save the world,” but at no point does Earth's fate hang in the balance, and talking to Elle Fanning's Zan is no great challenge for anyone.
  2. The Misandrists
    The sexual outbursts in the film are tempered with a tenderness that one hardly associates with Bruce LaBruce's career.
  3. In Darkness
    Anthony Bryne's high-flown style only serves to highlight the film's icky way of exploiting real-world tragedy for kicks.
  4. Pope Francis - A Man of His Word
    It often plays like a toothless PR video designed to rehabilitate the Catholic Church's reputation in the wake of its global pedophilia scandal.
  5. That Summer
    The makers of this rescued-footage documentary ultimately understand the power of its subjects' personalities.
  6. BlacKkKlansman
    Spike Lee styles the film as a popular entertainment, forgoing the theatrical satire typical of his late-period state-of-the-nation joints, like Bamboozled and Chi-Raq, and settling into the accessible rhythms of the contemporary sitcom.
  7. Book Club
    It’s been said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman's film.
  8. The House That Jack Built
    The film becomes an even broader consideration of individual fascinations and follies, of ways of responding to art without the boundaries of morality and reason.
  9. Solo: A Star Wars Story
    The imprint of Star Wars on everyday American life now feels so despotic that it's too much to ask a film like Solo to be moving or thrilling as a piece of cinema.
  10. On Chesil Beach
    The film’s imaginative daring springs from its willingness to render repression sexy, even if it will prove to be the seed of a young couple’s dissolution.
  11. Deadpool 2
    Deadpool 2 muddies the distinction between parodying comic-book-movie conventions and perfunctorily adhering to them.
  12. Sollers Point
    Sollers Point is a moving and elusive blend of naturalism and melodrama, less a character study than an analysis of a community.
  13. 3 Faces
    Whenever Panahi's architecturally rigorous study of the self, society, and artistic communion threatens to get too self-conscious or loaded, the filmmaker tends to leaven the tension with humor and gentle irreverence.
  14. Dark Crimes
    There’s a lot of sexual violence in the film, but it scans as unimaginatively repulsive, as well as blatantly misogynistic.
  15. First Reformed
    After more than 20 features, Paul Schrader has been reborn with First Reformed, an unhurried, furious, deeply agonized look at faith and skepticism that’s as reverent as it is blasphemous.
  16. Cold War
    The film is most exhilarating as a breathless vessel for mood, one that just so happens to conduct itself within reconstructed period settings that are as obsessively detailed as the reverently curated soundtrack.
  17. Breaking In
    James McTeigue's Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.
  18. Life of the Party
    Novelty and Melissa McCarthy’s comedic chops only carry Life of the Party to midterms, and it soon becomes apparent that it’s a star vehicle without any engine.
  19. The Escape
    It deals with a very ordinary emergency with deftness of touch, and the power of a singular performance.
  20. Filmworker
    Tony Zierra interviews Leon Vitali at length, and he’s a commanding camera object with an obvious wellspring of longing and pain.
  21. Everybody Knows
    Asghar Farhadi falls back on the expository dialogue and dubious perspectival shifts that he frequently resorts to as a means of wrapping up knotty narratives.
  22. The Day After
    As with most Hong Sang-soo films, it engages in intellectual gamesmanship while courting emotional pathos.
  23. Boom for Real: The Late Teenage Years of Jean-Michel Basquiat
    The film seems far more interested in celebrating a short-lived era of artistic invention than interrogating it.
  24. Beast
    The narrative has a gambit that steers Beast into the terrain of a horror film, offsetting the sentimentality of the audience-flattering romance.
  25. Terminal
    Terminal's actors are awkward and stiff in trying to project hard-boiled cool, and all while delivering lines that sound as if they had been passed multiple times through an online translation tool.
  26. The Seagull
    The film is content to present Anton Chekhov's ideas rather than grapple with their provocative and complex subtexts.
  27. Revenge
    Fetishism, parody, and various registers of violence propel a livewire thriller that mines the free-floating hostility existing between genders.
  28. Lu Over the Wall
    Throughout, director Masaaki Yuasa’s imagination runs so wild that it becomes impossible to resist.
  29. Overboard
    All of the broad physical humor in the world can't distract from the fact that the film is an endorsement of psychological exploitation.
  30. The 12th Man
    At 130 minutes, it isn't a short film, and its most intriguing elements, much like Baalsrud's rations, are in short supply.
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