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. Pillion
    If there’s humor to be found in some of the particulars, it’s never to judge or to poke fun, but to revel in the very real delights of consensual sexual roleplay.
  2. It Was Just an Accident
    The film is astutely aware of the physical and psychological scars that that result from living in a state of tyranny.
  3. Splitsville
    Splitsville thrives on the unpredictability of this formal freedom before settling back into a familiar Hollywood narrative formula: the comedy of remarriage.
  4. Sentimental Value
    The film’s multi-layered structure supports a familiar but often profoundly affecting tale of intergenerational family conflict.
  5. Romería
    Carla Simón’s instinct for sketching in crucial narrative and character detail within a naturalistic context remains as unerring as ever.
  6. Yes
    Nadav Lapid’s film locates a dire spiritual crisis facing the nation of his birth.
  7. The Lodger: A Story of the London Fog
    A showcase for director Alfred Hitchcock’s intense study of the German Expressionist movement, The Lodger: A Story of the London Fog boasts artfully animated intertitles, plunging shadows, and oppressive camera angles.
  8. My Father's Shadow
    Hope and fear are inextricably bound in Akinola Davies Jr.’s semi-autobiographical film.
  9. Jamaica Inn
    Alfred Hitchcock’s Jamaica Inn would have been better titled The Gangs of Jamaica Inn, since the film is thoroughly concerned with groupings, allegiances, and the ways class standing relates to moral obligation.
  10. Sovereign
    Christian Swegal’s feature-length directorial debut is like staring into a national wound.
  11. Inside
    Charles Williams’s feature-length directorial debut, Inside, centers on a trio of dangerous men who are forced into each other’s orbit, leading to an outcome that’s both violently chaotic and tragically predictable.
  12. Videoheaven
    Alex Ross Perry doesn’t insert himself into something he views as bigger than himself, and that sense of reverence lends an emotional anchor to even the driest, disaffected parts of Videoheaven.
  13. La Grazia
    The relative restraint of La Grazia makes its baroque flourishes stand out all the more.
  14. Boys Go to Jupiter
    Julian Glander powerfully channeling the ennui of his characters with images of everything from vacant parking lots to empty swimming pools.
    • 84 Metascore
    • 75 Critic Score
    Life After
    The film may be most powerful for how Reid Davenport subtly connects the experience of the disabled community with that of marginalized diaspora groups at large.
  16. Preparation for the Next Life
    One small, shrewd decision after another allows Preparation for the Next Life to sustain its naturalism to the end.
  17. No Other Choice
    Across the film, “no other choice” becomes a kind of disingenuous mantra, demonstrating how platitudes and apathy reinforce a violent status quo.
  18. Sanatorium Under the Sign of the Hourglass
    Sanatorium Under the Sign of the Hourglass becomes a film about its own condition of being an outsider to its own time, lost as it is in the aesthetics of another time that it views with a kind of nostalgic disquiet.
  19. Is This Thing On?
    This is a finely observed and good-natured piece of work that carries some of the creative angst of Bradley Cooper’s other films but without the need to convince us of its main character’s genius.
  20. Mother of Flies
    Despite the affinity the Adams clan has displayed for spooky, goopy imagery in the past, Mother of Flies finds them reluctant to fully exercise those talents for fear of tipping their hand.
  21. A Samurai in Time
    A Samurai in Time isn’t just having fun with fake swords and chonmage wigs, as it also provides a lot of gentle reflections about history, modernity, and our place in it all.
  22. The Burmese Harp
    Ichikawa Kon’s 1956 film The Burmese Harp is a tender almost-musical film about the horrors of war and the obliteration of identity.
    • 84 Metascore
    • 75 Critic Score
    Is God Is
    Featuring larger-than-life characters described with epithets like “monster” and “the rough one,” and blending brutal violence with themes of generational trauma, abuse, and toxic masculinity, the film ponders what one does with the bottomless hate of being wronged.
  24. V/H/S/Halloween
    Every segment passes the basic scary-movie smell test of showing you something that you haven’t seen before, and that includes a truly depraved death involving a large quantity of gumballs.
  25. Arco
    Arco is a children’s adventure set in world that’s literally on fire, which makes the moments of childlike wonder and connection all the more endearing and vital.
    • 89 Metascore
    • 75 Critic Score
    Magellan
    The film bluntly puts its historical horrors on display, but it’s careful not to explicitly posit their causes.
  27. Sisu: Road to Revenge
    Much of Road to Revenge plays like a spectacularly gory silent film, with Aatami taking out scores of Red Army soldiers in action scenes that are as inventive as they are incredibly funny.
    • tbd Metascore
    • 75 Critic Score
    Where to Land
    Where to Land opts for quiet moments of connection, raising questions rather than giving definitive answers.
  29. Rose of Nevada
    The film plunges us into a world that feels simultaneously naturalistic and otherworldly.
  30. Our Land (Nuestra Tierra)
    The film is less a portrait of one martyred man than a mosaic of a resistant community.
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