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. I Saw the Light
    A flaccidly directed film that basks for two hours in a carefully art-designed simulation of the past.
  2. April and the Extraordinary World
    The film provocatively has audiences see the world's current ecological concerns in a different and unexpected light.
  3. Born to be Blue
    Robert Budreau strip-mines the life of an amazing musician for the purpose of mounting yet another comeback story.
  4. Valley of Love
    The film enables us to feel the emotional weight of a posthumous letter precisely because we can only imagine its contents.
  5. Baskin
    The film mostly functions as a tour of familiar horror tropes for much of its running time.
  6. Take Me to the River
    It's difficult to believe in Ryder's gullibility, if not willingness to be caught in his uncle's strange web of provocations.
  7. Under the Shadow
    The film's horror is spookily and movingly expressive of the tenuous position of women in 1980s Iran.
  8. The Program
    The Program is flashier and more self-conscious than many biopics, but it's ultimately just as hollow.
  9. The Confirmation
    The premise is undermined by the film's occasionally dubious ethics and its tendency to soft-pedal the dangerous situations it sets up.
  10. Miracles from Heaven
    Situations and people are sketched out too lightly to leave an emotional trace.
  11. Midnight Special
    It starts off as a dynamic parable about faith before wilting into a glum and rather disingenuous paean to the family.
  12. The Little Prince
    As preachy and repetitive as The Little Prince can be, it offers enough moments of poetry to keep it flirting with greatness, or at least goodness.
  13. Neon Bull
    Everything in the film is understood to be a subsumed sex act, with actual sex serving as a contextualizing catharsis.
  14. The Bronze
    The prevailing attitude behind the film can be boiled down to a simplistic idea: the cruder, the better.
  15. A Space Program
    The film's larger purpose, be it about the ardor of handmade crafts or artist Tom Sachs's artistic ambitions, never emerges with any consistent focus.
  16. Krisha
    It rams home the main character's relentless downward spiral though an incessant parade of grandstanding stylistic flourishes.
  17. Weiner
    Josh Kriegman and Elyse Sternberg's film never discovers a greater purpose beyond its undeniable sideshow appeal.
  18. Fireworks Wednesday (2006)
    Asghar Farhadi's 2006 film interrogates the tensions between tactility and vision in complex ways.
  19. Evolution
    The film interprets itself, offering an essay on rape and gender fluidity that locks us out of the cognitive process of digesting it.
    • 73 Metascore
    • 50 Critic Score
    The Clan
    The Pablo Trapero film's parallels are drawn so bluntly that they lose all suggestive force, since there's little left to suggest.
  21. The Fits
    This singular mix of character study and mysterious mood piece might not have come off quite so successfully if not for Royalty Hightower's internal performance.
  22. 10 Cloverfield Lane
    The legacy of Syd Fields's screenwriting manual hangs over 10 Cloverfield Lane, as it does all of Abrams's productions, which never even accidentally casts a whiff of subtext or authorial personality.
  23. The Brothers Grimsby
    The film doesn't do much to satirize the spy genre, instead using its flimsy plot mostly as a scaffolding for a barrage of jokes.
  24. Remember
    Atom Egoyan is only interested in using the Holocaust as fodder for carrot-dangling plot contrivances.
  25. Marguerite
    Xavier Giannolli consistently glosses every sequence with a stagey kind of humor, and at the main character's expense.
  26. Hello, My Name Is Doris
    Michael Showalter is content to trade They Came Together's mischievous genre deconstructionism for cheap-shot indie quirk.
  27. Eye in the Sky
    Director Gavin Hood treats the aesthetics of high-tech surveillance as the opaque membrane through which the prosecution of the War on Terror must pass.
  28. City of Gold
    The film affectively defends food critic Jonathan Gold's assertion that it's ultimately cooking that makes us human.
  29. Lolo
    A curiously unsentimental director of romantic comedies, Julie Delpy sees romance for the work that it primarily is.
  30. Backgammon
    The imagery fails to express either the characters' or the filmmakers' obsessions or synchronicities.
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