Slant Magazine's Scores

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For 7,767 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 6.2 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: 4,344 out of 7767
  2. Mixed: 1,490 out of 7767
  3. Negative: 1,933 out of 7767
7767 movie reviews
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  1. Strike a Pose
    The filmmakers and performers show great maturity in refusing to settle scores or spill secrets.
  2. The Red Turtle
    A pointed simplicity governs Michael Dudok de Wit's The Red Turtle, one that’s traditional of many survival tales.
  3. Detour
    The effect of the film becomes not unlike watching a puzzle solve itself without demanding either the audience’s emotional or intellectual investment.
  4. Antarctica: Ice and Sky
    The documentary advances its cause through an intimately diaristic depiction of hard work done well.
  5. The Bye Bye Man
    Stacy Title’s film ends up succeeding most deftly as an advertisement for on-campus housing.
  6. Monster Trucks
    The film cartoonishly admonishing Big Oil while hypocritically fetishizing the gas-guzzling appetite of a cute and cuddly machine-creature hybrid.
  7. Live by Night
    There's nothing at the center of Live by Night, no foundation of drama to ground the convoluted mash-up of so many genre tropes.
  8. 100 Streets
    Throughout the film's three interconnected stories, Jim O'Hanlon favors the blunt, maudlin manipulations of Crash.
  9. The Crash
    The film may be too preposterous to take seriously, but at least writer-director Aram Rappaport trains his sights on the right enemies.
  10. Claire in Motion
    Throughout, writer-directors Lisa Robinson and Annie J. Howell's film buckles under the weight of its symbolism.
  11. Ma
    Celia Rowlson-Hall's Ma has had its subtext dragged kicking and screaming to the surface.
  12. Alone in Berlin
    The film attempts a tone of tragic understatement that registers instead as flat, plodding, and underfelt.
  13. Railroad Tigers
    Despite its energetic, intricately climax, Railroad Tigers is at its most entertaining when merely observing Chan’s smaller movements.
  14. Master
    The film is seemingly terrified of boring us, offering one elaborate montage of catch and release (or of survey and flee) after another.
  15. Arsenal
    It's a misnomer to label the climax of Steven C. Miller's patently sick Arsenal an actual climax.
  16. Accidental Courtesy: Daryl Davis, Race & America
    The film is a debater with some interesting points to make but no overall argument to contain them.
  17. The Ardennes
    It predictably lurches toward acts of extreme violence with little interest other than the instant titillation such moments afford.
  18. Passengers
    Monogamy, Passengers seems to suggest, is tantamount to existing in a world where nothing else matters outside of the bond you and your partner share.
  19. A Monster Calls
    A Monster Calls is both governed and straitjacketed by director J.A. Bayona’s competent impersonality.
  20. The Bad Kids
    Keith Fulton and Louis Pepe's documentary raises important questions about the limits of pedagogy.
  21. Assassin's Creed
    The film ends up with both blurry action that often looks digitally faked and a fractious plot that’s stuck over-explaining itself.
  22. The Autopsy of Jane Doe
    This is cinema’s most comprehensive look at the gruesome business of necropsy since Stan Brakhage's The Act of Seeing with One’s Own Eyes.
  23. Sing
    In Sing, musical theater is simply an excuse for the filmmakers to deliver an animated version of American Idol.
  24. Silence
    Martin Scorsese crafts a versatile, multifaceted work that encourages serious reflection and contemplation.
  25. Fences
    Danzel Washington honors the manna of the play's being: the micro of romantic longing, self-loathing, and nostalgia.
  26. Collateral Beauty
    David Frankel's film argues that the power of miracles can be manufactured by those who can fund them.
  27. Why Him?
    The film is surprisingly amiable, thanks to the commitment of its lead actors and its refusal to condescend to its characters.
  28. Rogue One: A Star Wars Story
    Rogue One is less the fetish object that The Force Awakens is because it at least has the ambitions to create its own character dynamics and plot routes rather than coast on existing ones.
  29. The Hollow Point
    Gonzalo López-Gallego's direction isn't confident enough to allow us to ignore The Hollow Point's contrivances.
  30. A Kind of Murder
    The film seems more interested in its art design then in fully developing the story's underlying sexual ethics.
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