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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    • 78 Metascore
    • 50 Critic Score
    In Between
    In Between is most affecting when its characters are at their least guarded, but as Nour, Salma, and Laila are hurt by those closest to them, Hamoud's film pulls back toward more formulaic expressions of conflict.
  2. Django
    The film's most crucial shortcoming lies in its failure to illuminate both the inner life of its subject and his artistic genius.
  3. Before I Wake
    Before I Wake's images have a pleasing straightforwardness that parallels the openness of the young protagonist's longing for love.
  4. Anatomy of a Male Ballet Dancer
    Lost, or at least merely glossed over, throughout this hagiographic documentary portrait is the miraculous story of an effeminate Brazilian boy who was actually allowed to blossom through dance and who, because of such permission, has managed to survive his queer childhood a little more unscathed.
  5. Father Figures
    Father Figures, which finished shooting more than two years ago before spending endless months without a release date, is both meandering and bloated, suggesting the Frankensteinian result of brutal test screenings.
  6. All the Money in the World
    As released, All the Money in the World is by and large a conspicuously manufactured thriller that moves between manipulative psych-outs.
  7. Happy End
    Happy End reveals itself as something vacuous and cold, a bizarrely seductive pseudo-thriller lacking a thoroughly worked-out payoff.
  8. Bright
    A welter of dissonant intentions, the film fails to seamlessly intertwine its elements of realism and fantasy.
  9. Film Stars Don't Die in Liverpool
    The film shows no interest in the inner workings of a relationship that’s defined by unusual circumstances.
  10. The Greatest Showman
    The Greatest Showman‘s spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.
  11. Pitch Perfect 3
    Women deserve a better vehicle for demonstrating the power of female solidarity than this empty money grab.
  12. In the Fade
    In the Fade is executed with precision, particularly the third act, in which the film morphs into a tense yet unconvincing revenge thriller.
  13. Hostiles
    Scott Cooper's film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
  14. The Ballad of Lefty Brown
    For what it's worth, Jared Moshe seems genuinely interested in the role of unflagging decency in a sullied world.
  15. Crooked House
    Gilles Paquet-Brenner's film is ultimately a genre item that operates on alternately prestigious and campy autopilot.
  16. Ferdinand
    Any potential subtext of Munro Leaf's children's book has been bleached out in the marketplace-oriented Ferdinand.
  17. Star Wars: Episode VIII - The Last Jedi
    The latest entrant in this now-Disney-owned franchise is largely content to further the themes and narrative strategies of J.J. Abrams's predecessor.
  18. Miss Kiet's Children
    Childhood in Peter Lataster and Petra Lataster-Czisch's documentary is the terrain of contradiction and ambiguity.
  19. Jumanji: Welcome to the Jungle
    The film is unable to reconcile a desire to ridicule its own artifice with constant attempts to foster genuine empathy and dramatic tension.
  20. Birdboy: The Forgotten Children
    Alberto Vázquez and Pedro Rivero's film is a phantasmagoria of impressionistic horror, at once despairing, beautiful, haunting, and surreal.
  21. The Pirates of Somalia
    Writer-director Bryan Buckley's film is ultimately more interested in the journalist than his story.
  22. Phantom Thread
    Phantom Thread arrives at a place of qualified peace that cauterizes the emotional wounds of Paul Thomas Anderson's cinema.
  23. The Post
    No American film since Zodiac has exhibited such a love for the way information travels than The Post, but it's nonetheless steeped in self-congratulation.
  24. November Criminals
    The film advances that old Hollywood trope: Blacks can't get justice unless whites are willing to get it for them.
  25. I, Tonya
    The film’s habit of courting and then insulting the viewer is a conscious nod to the cycles of abuse that mark Tonya Harding’s story, but the filmmakers’ attempts to implicate their audience are I, Tonya's broken shoelace, too pat and glib to be convincing.
  26. My Happy Family
    It casually lays out the domestic space where the story’s events takes place with acutely detailed cultural specificity.
  27. The Shape of Water
    The Shape of Water has been made with a level of craftsmanship that should be the envy of most filmmakers, but the impudent, unruly streak that so often gives Guillermo del Toro’s films their pulse has been airbrushed away.
  28. 24 Hours to Live
    Brian Smrz never contrasts the film’s violence with stillness, allowing the audience to enjoy a sense of foreboding escalation.
  29. Shadowman
    This is a gruesome art-world fairy tale unafraid to face the bitter details of its hero's tumultuous life.
  30. Voyeur
    It's hard to come away from the film feeling anything but disdain and a twinge of embarrassment toward Gay Talese.
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