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. We Live in Time
    John Crowley’s film blunts the force of the naturalistic performances by Florence Pugh and Andrew Garfield as it shifts around the timeline of the story with little rhyme, reason, or rhythm.
    • 85 Metascore
    • 50 Critic Score
    I'm Still Here
    The film has trouble excavating any coarse humanism from this decidedly human story, opting instead to paint the family at its center in broad, uninspired strokes.
  3. Queer
    In the end, Luca Guadagnino effectively turns a very complicated literary figure into the kind of blubbering, nostalgic old man you’d expect to see in a student film or a Sundance prizewinner.
  4. Who by Fire
    One of Who by Fire’s greatest assets is Philippe Lesage’s willingness to shift the tenor of the film to fit the wildly divergent narrative concerns of any given sequence.
  5. On Becoming a Guinea Fowl
    Rugano Nyoni’s critique of her native country’s gender-based discrimination is as acerbic as it is unforgiving.
  6. Christmas Eve in Miller's Point
    In Christmas Eve in Miller’s Point, holiday tropes born of life and movies alike are exaggerated, parodied, celebrated, and compressed to suggest how our idea of Christmas is a river of memories real and imagined.
    • 88 Metascore
    • 88 Critic Score
    Hard Truths
    Even at its funniest, Hard Truths finds Marianne Jean-Baptiste channeling an anger that feels excruciatingly real.
  8. The Shrouds
    The film shares with Crimes of the Future an alternately intrigued and critical fascination with the ways technology encroaches on humanity, and a paranoid interest in rooting out underlying conspiracies.
  9. Emilia Pérez
    If a musical is supposed to communicate things that can’t be conveyed through normal dialogue, Emilia Pérez’s biggest problem is that it falls prey to redundancy, regurgitating the same ideas about identity, desire, violence, and redemption, betraying how little it has to say in the first place.
    • 76 Metascore
    • 63 Critic Score
    Pavements
    Alex Ross Perry’s Cubist portrait finds a fitting balance between reverence and mischievousness.
  11. Nickel Boys
    RaMell Ross’s remarkable film finds an expressive power in formally adventurous technique that fashions mesmerizing, cumulatively affecting poetry out of Colson Whitehead’s prose.
  12. Better Man
    Walking a dizzying line between the stupid and the profound, this exuberant, positively unique biopic is as hard to resist as it is to believe that it got made in the first place.
  13. Bookworm
    Ant Timpson’s heartwarming Bookworm is an effulgent love letter to ’80s kid cinema laced with a distinctly quirky, Kiwi dryness.
  14. Plastic
    Even a banal life can have a musicality and life to it, but once it leaves high school, Plastic’s portrait of adult life comes off as a monotone drone.
  15. Daaaaaalí!
    Quentin Dupieux melts the frames that separate dream, film, and reality until they become one plate of tangled spaghetti.
  16. Maria
    Between Jackie, Spencer, and, now, Maria, Pablo Larraín has thrice committed the cardinal sin of taking a female icon of the 20th century and, in an attempt to hold a mirror up to her multitudes, flattened her into the equivalent of a kitschy postage stamp.
  17. Union
    The level of detail with which the filmmakers depict the unionization process is eye-opening.
  18. Intercepted
    The film’s most effective material comes in its analysis of how the military state’s permission structures for inhumanity traumatize citizens in order to harden them and focus their hatred.
    • 82 Metascore
    • 88 Critic Score
    Grand Tour
    If Tabu locates the colonial mindset in madness and obsession, Grand Tour does so in cowardice and obliviousness.
  20. Joker: Folie à Deux
    In grappling with the implications of its story, Folie à Deux’s every attempt at showcasing cleverness, verve, or engagement is held cruelly underwater by staid direction, shoddy emotional plotting, a gleeful sense of cruelty, and a grave nihilism that makes Zack Snyder’s work seem like a season of Bluey.
  21. Things Will Be Different
    In many ways, the film feels like a micro-budget rendition of Tenet, as our heroes discover that they’ve been caught in a “vice-grip” between past and future that functions much like that film’s famous “temporal pincer.”
  22. It's What's Inside
    The camera, the cuts, the needle drops, and story twists all contribute to the feeling of a machine that’s spinning faster and faster until finally it careens right out of control.
  23. April
    April’s frames seek to embody a dizzying span of human experience, even if Dea Kulumbegashvili occasionally strains to corral it.
  24. Youth (Homecoming)
    Throughout his trilogy, Wang Bing’s modus operandi has been expansion through repetition, a recursive exploration of similar spaces that nevertheless exhibits differing emotions, concerns, and personalities.
  25. Megalopolis
    If Megalopolis, as many speculate, marks the end of Coppola’s career as a filmmaker, it flourishes in that finality, having held back or compromised nothing.
  26. Saturday Night
    There’s a certain pleasure in basking in the anarchic behavior of the SNL cast as depicted in Saturday Night, but it’s rendered hollow by the film’s often grating mythologizing of them, which includes trying to turn the 90 minutes before the first episode into a frenetic comedy of Safdie-esque proportions.
  27. The Apprentice
    Perhaps there are limits on how deeply a film can explore the psyches of people who so nakedly show us their worst qualities.
  28. Happyend
    Sora Neo struggles to balance the immediacy of adolescent angst with the long-range outlook of using the students’ experience as a canary in the coal mine for society at large.
  29. The Brutalist
    Brady Corbet builds on celluloid what Adrien Brody’s László Toth does with concrete: an unvarnished monument to the authentic American character.
  30. Sleep
    Jason Yu’s film may not reach its full potential, but it offers a devious commentary on the all-too-human desire for easy explanations.
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