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. The Front Room
    If there’s any food for thought in The Front Room, it’s the ongoing portrayal of old folks in the A24 catalog.
  2. His Three Daughters
    His Three Daughters sneaks up on you, for as chatty, monologue-forward as Jacobs’s screenplay may be, it conveys so much through absence and suggestion.
  3. Rebel Ridge
    Rebel Ridge never rises to the panic-infused heights of its opening, but Jeremy Saulnier is still able to maintain a baseline of oppressive tension as we watch a man navigate the deep-seated corruption of a sundown town.
  4. No Other Land
    With exceptional lucidity, No Other Land reminds us of the human stakes of Israel’s resettlement of the West Bank, and that fighting for justice starts from the ground up.
  5. The Order
    The Order illuminates the pipeline from economic insecurity and racial anxiety into outright white nationalism without casting a sympathetic eye toward the eponymous group’s tenets.
  6. Wolfs
    The witty repartee between Clooney and Pitt feels like the only thing holding the film together.
  7. The End
    Perhaps the script is deliberately harking back to a storytelling mode that was characteristic of Hollywood cinema for dramatic effect, but the musical aspect, while a neat gimmick, isn’t memorable or cohesive enough to make the homage, well, sing.
  8. Look Into My Eyes
    Leave it to a documentarian to find subjects who profess a similar faith in the power of ecstatic rather than merely objective truth.
  9. Red Rooms
    Red Rooms interrogates how the only thing preventing someone from being sucked down a moral whirlpool is to catch sight of their own zombified reflection on their computer screen.
  10. The Mother of All Lies
    Through her use of recreation, Asmae El Moudir suggests that the act of documentary filmmaking can turn historical truths into fiction, in which everyone becomes an active participant.
  11. Anora
    The film’s initial pull lies in the way that Sean Baker intoxicatingly keys his aesthetic to the fervor of a budding romance that we clearly know won’t end well.
  12. Cloud
    Kurosawa Kiyoshi is an empathetic yet pitiless poet of the modern void.
  13. City of Dreams
    The film resembles less a realistic peek into the modern slavery of immigrants in America as it does grist for the torture porn mill.
  14. Reagan
    The film’s treatment of its subject is belligerently hamfisted, disingenuous, and incurious.
  15. Blink Twice
    Blink Twice clearly has thoughts about the danger that men can pose and the way women are forced to perform happiness while in the company of such predators, but it never provides more than a surface-level understanding of such dynamics.
  16. The Killer
    This remake is absent the far richer character development that made the original as much a melodrama as a shoot-’em-up.
  17. The Crow
    The remake gets bogged down by a superfluous, hackneyed backstory and narrative threads that are conspicuous for their lack of emotional gravitas, causing the film to feel like a wheel-spinning exercise.
  18. Transamazonia
    Plunging headlong into the murk of exploitative missionary work and environmentally destructive capitalism, Transamazonia is a film with undeniable import and sociopolitical urgency, which its muddled narrative can’t completely dampen.
  19. The Outrun
    With The Outrun’s neat but poignant metaphor work in mind, mental illness and addiction are understood as natural responses to the conditions of a ravaged life.
  20. Strange Darling
    Strange Darling is a cunningly devised thriller that wields our assumptions against us like a sharp implement, delighting in making us squirm.
  21. The Deliverance
    Lee Daniels does such a good job investing us in the human drama of The Deliverance that it almost feels unnecessary when the supernatural elements inevitably take over in the final act.
  22. The Sparrow in the Chimney
    The film seems to insist upon the idea that intimacy and isolation are ultimately two sides of the same coin.
  23. Mountains
    Mountains interprets leisure not so much as the opposite of work or struggle, but a stance that can and should suffuse each moment of life, not discounting those we sell to make a living.
  24. Blue Sun Palace
    Blue Sun Palace’s tale is filled with quiet spaces, and the way the texture of this quiet changes over the course of the film is a testament to its power.
  25. Red Island
    Red Island is at once lackadaisical and urgent, relaxed but with a clear eye for how swiftly everything will end for the characters at its center.
  26. Alien: Romulus
    Romulus ends up as the franchise’s strongest entry in three decades for its devotion to deploying lean genre mechanics.
  27. Borderlands
    The film makes mind-boggling choices for an adaptation of a game series so inseparable from its obnoxiously rough-and-tumble tone, characters, and humor.
  28. Daughters
    The importance of touch between a parent and child—and, in the case of this film, specifically between a father and daughter—is rarely discussed openly in Daughters, but it looms large over nearly every scene.
  29. Dance First
    Rather than grappling with the mind and soul of the man who birthed bizarre, fatalistically funny and existentially unsettling works like Waiting for Godot, James Marsh’s film seems content to merely adapt the “Personal Life” section of Samuel Beckett’s Wikipedia page.
  30. Trap
    M. Night Shyamalan’s stylish thriller is schizophrenic in more ways than one.
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