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. MATANGI/MAYA/M.I.A.
    Stephen Loveridge fully understands that even the trifurcated title of his film may not be entirely equipped at capturing the extent of M.I.A.'s many-faceted identity.
  2. Alone
    John Hyams’s film refutes the frenetic clichés of so modern American thrillers.
  3. Late Night
    The film lacks for the more lacerating, freely parodic energy of The Larry Sanders Show and 30 Rock.
  4. Weird: The Al Yankovic Story
    Weird accordingly (or is it accordion-gly?) takes everything to new heights of glorious ridiculousness.
    • 70 Metascore
    • 75 Critic Score
    The Duellists
    The Duellists explores its own unique thematic terrain and limns its characters’ psychology with a perspicacity that’s all its own.
    • 70 Metascore
    • 88 Critic Score
    City Slickers
    Equally self-reflective and enjoyable is the score by Marc Shaiman and Thomas Richard Sharp that cuts a sweeping western theme into the waltz and college-sports tunes that color the film’s animated title sequence and then throughout its more comic set pieces—not even cutting out entirely during Crystal and company’s rendition of the Bonanza theme song. Rather, like the film itself, it beautifully accents Crystal’s high notes.
  7. Knife + Heart
    The film quickly settles into a holding pattern of repetitive porno-movie hijinks and increasingly listless murder scenes.
  8. I Don't Belong Anywhere: The Cinema of Chantal Akerman
    The documentary is an attempt to capture something of Akerman's infectious spirit and thirst for worldly experience, as both an artist and a human being.
  9. 1922
    Zak Hilditch's 1922 informs Steven King's pulp feminism with primordial, biblically ugly force.
    • 70 Metascore
    • 50 Critic Score
    The Last One for the Road
    The Last One for the Road gives itself over to an aimlessness that doesn’t so much reflect the characters’ lives as it does the script’s lack of commitment to interiority.
  11. The Boys in the Band
    This new Boys in the Band is a Matryoshka doll of period piecery, a flashback of a flashback of a flashback.
  12. Life of Riley
    Alain Resnais's overpoweringly beautiful final film dares to push through the ghosts that inhabit the present, standing between the pessimism of an ill-spent past and the optimism of an undefined future.
  13. Brimstone & Glory
    Through its energy and inherent beauty, Brimstone & Glory hits concurrent notes of peril and bliss, but even at a scant 67 minutes it can seem a bit aimless and scattershot.
  14. Swimming Out Till the Sea Turns Blue
    Jia Zhang-ke’s film is a quietly reflective, intermittently rambling rumination on an explosively momentous period in Chinese history.
  15. Remembering Every Night
    The film is a gentle evocation of contemporary Japanese life in its pleasures and frustrations.
  16. All About Nina
    Right out of the gate, the film only sees a kind of blunt irony in this blurring of her public and private selves.
  17. The Old Guard
    Though it smartly prioritizes the bond of relationships over action, the film is in the end only somewhat convincing on both counts.
  18. Only the River Flows
    The craft brought to bear on Only the River Flows is captivating, but when it comes to matters of story, it cultivates a frustrating air of disinterest.
    • 70 Metascore
    • 38 Critic Score
    !Women Art Revolution
    Unlike Pamela Tanner Boll's truly inquisitive "Who Does She Think She Is?", which delves deeply and personally into the lives of a handful of working artist moms, Hershman Leeson introduces us only superficially to her dozens of pioneering friends.
  20. Contagion
    A germophobe's worst nightmare, Contagion touches on all the dramas big and small, mostly big, we've come to associate with catastrophes such as this, and does so as if it were hurriedly going down and adapting a list of bullet points, never lingering on any one drama in a particularly meaningful fashion.
  21. Kurt Vonnegut: Unstuck in Time
    The film pulls back the veil on Kurt Vonnegut to show how a gloomy dissatisfaction brooded underneath his quippy surface personality.
  22. The Ugly Stepsister
    Emilie Blichfeldt knows the exact point of queasiness to which she can push an audience and gradually tests how much further she can move that mark with each successive scene.
    • 70 Metascore
    • 75 Critic Score
    Faults
    The film obliquely addresses its narrative mysteries through the conversational cracks of two people in enforced proximity.
  24. The Nile Hilton Incident
    The film may not reimagine our sense of how the ties that bind bad men are rewritten in times of war, but it nonetheless gives a casually electric sense of how hardscrabble lives persist in such times.
  25. Color Out of Space
    The film is a vivid depiction of how a confrontation with the unknown can so easily shatter the fragile bonds that hold us together.
  26. The Peanut Butter Falcon
    The film’s improvisational feel helps to ground a fable-esque narrative in a discernible reality.
  27. Madonna: Truth or Dare
    In essence, Truth or Dare is less of a concert film than an elaborately constructed exegesis on pop mythmaking and the construction of identity.
  28. Double Lover
    Though Double Lover has a slight oneiric quality from the start, it grows increasingly delirious, the plot threads knotting in convoluted patterns and the overall mood more and more ridiculous.
  29. Epicentro
    It alternates political ponderings with a loose and discursive subtext in which Hubert Sauper explores the idea of Cuba as an island paradise.
  30. Berlin Syndrome
    Until its hasty climax, Cate Shortland's film is rewardingly patient and psychologically cogent.
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