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. Last Flag Flying
    Last Flag Flying is colored by how time reshapes our sense of self, embracing some memories while occluding others, and the film ingeniously folds the viewer into a similar state of reflection and uncertainty about previous eras of false optimism about national values.
  2. American Made
    Doug Liman may effectively maintain a madcap energy through to the end, but unlike Adam McKay or Martin Scorsese, he isn't all that interested in explicating the complex inner workings of vast criminal enterprises.
  3. Mark Felt: The Man Who Brought Down the White House
    Mark Felt is a kind of hagiography, and it leans toward whitewashing its subject's legacy, which extends even to the man's illegal break-ins and wire-tapping of the leftist activist group the Weather Underground.
  4. Gerald's Game
    Mike Flanagan is an un-ironic humanist, which is rare in the horror genre. And this admirable quality trips the filmmaker up in the second half of Gerald's Game, which pivots on Jessie learning to stand up to diseased masculinity.
  5. Bugs
    It begins as a gleeful deadpan comedy and ends up as an exasperated cri de cœur against our current system of industrialized food production and distribution.
  6. Super Dark Times
    The transformation of a teen into a serial killer isn't credible compared to the portrait of idle suburban adolescence.
  7. Lucky
    John Carroll Lynch's Lucky is an impeccably acted yet sentimental film that’s bashful about said sentimentality.
  8. Thelma
    Thelma's transition into a paranormal thriller doesn’t complicate its initially potent character study.
  9. Loving Vincent
    Dorota Kobiela and Hugh Welchman's film is driven by an off-putting and oxymoronic fusion of reverence and egotism.
  10. Stronger
    David Gordon Green zeroes in on the intricacies of Jeff Bauman and Erin Hurley's dysfunctional relationship, offering up an unassuming portrait of wounded love and solitude reminiscent in its sense of detail of the filmmaker's early work, like All the Real Girls.
  11. Gaga: Five Foot Two
    Far from seeming like a strategic element created to define Lady Gaga's reinvention, the documentary instead feels like a natural outgrowth of it.
  12. Woodshock
    It becomes the obnoxious equivalent of trying to have a serious conversation with people who are high out of their minds.
  13. Friend Request
    The viewer anticipates satire from such a sociologically loaded premise, but director Simon Verhoeven and co-writers Matthew Ballen and Philip Koch predictably utilize Facebook for the purpose of superficially spit-shining another wanly Americanized J-horror retread.
  14. The LEGO Ninjago Movie
    The film’s cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.
  15. Kingsman: The Golden Circle
    The hollow grandeur of the film's action only gives the proceedings a glib undertone that also undermines the rare occasions of earnestness that the heroes exhibit toward fallen comrades.
  16. First They Killed My Father
    First They Killed My Father is less interested in global politics than in offering an intensely experiential tapestry of war and invasion as witnessed by a child.
  17. Faces Places
    Agnès Varda and JR's film develops into something approaching a manifesto for the possibility of shared happiness.
  18. Last Rampage
    Although Last Rampage's overarching narrative travels a well-tread road, it strikes a number of potent grace notes along the way.
  19. The Force
    Though initially compelling, Peter Nick's documentary is fundamentally without a clear perspective on its subject.
  20. Victoria and Abdul
    By privileging the white characters in its narrative, Victoria & Abdul exposes itself as insidiously hypocritical.
  21. Bobbi Jene
    Elvira Lind's film is closer to an advertisement for Bobbi Jene Smith than a film about the contemporary dancer.
  22. 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.
  23. The Disaster Artist
    James Franco's The Disaster Artist perfectly conveys the surreal hell of what the production of Tommy Wiseau's The Room must have been like.
  24. mother!
    If Black Swan was filmmaker Darren Aronofsky's fevered valentine to the artist's self-abnegating drive toward greatness, then Mother!, his loudest and most comprehensive work to date, is either a critique of or a doubling down on that impulse.
  25. The Future Perfect
    The Future Perfect has the texture of a novella that keeps reworking the same idea in successively intricate ways.
  26. Three Billboards Outside Ebbing, Missouri
    The film is the finest balance yet of Martin McDonagh's bleak sense of humor and offbeat moral sincerity.
  27. Dayveon
    Shot in 4:3 with sliver-thin depth of field and a lush palette of swampy greens, Amman Abbasi's film is largely predicated on the idea of imparting a hyperreal sensuality to a region not often depicted on the big screen.
  28. Battle of the Sexes
    Battle of the Sexes sacrifices some of its innate appeal by making ham out of the supposed relics of a less enlightened era.
  29. Brad's Status
    The film is less contemptuous of Brad than compassionate: brutally honest about his faults, yet ultimately understanding of them.
  30. Indivisible
    Edoardo de Angelis's coming-of-age portrait is poignant when fixated on the intricacies of a complicated sisterhood.
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