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 Strangers: Chapter 1
    This film’s approach to slasher film mayhem is liable to induce some serious déjà vu.
  2. Kingdom of the Planet of the Apes
    By the time the demands of big-budget spectacle take over in the final act, a film that initially stands out from the pack in imagining a different perspective of the world ends up looking all too disappointingly like everything else in the current mega-budget cinema landscape.
  3. Gasoline Rainbow
    The film is rich in compositions that seem to cut to the essence of the characters’ yearnings.
  4. The Last Stop in Yuma County
    There are little moments of blackhearted comedy among the bloodshed, but through it all, The Last Stop in Yuma County makes sure that those gunshots resonate.
  5. Power
    Throughout Power, Yance Ford draws a startlingly clear line from the origins of modern policing as a slave patrol to its present-day iteration.
  6. The Fall Guy
    Whenever its main characters are pulled apart, the movie magic, in every sense of the phrase, dissipates, leaving us with a bland, derivative action-comedy that’s never quite as funny or thrilling as it thinks it is.
  7. Jeanne du Barry
    Like the real Countess du Barry, it’s eventually caught up in the very pomp and splendor that it initially lampoons.
  8. Lost Soulz
    Lost Soulz is a road-trip movie driven by good vibrations and the joy of making music.
  9. Slow
    Slow steadfastly remains a character-driven piece, homing in on the intricacies of its protagonists’ psychologies and engaging with their subtle emotional shifts as they become more intimate with one another.
  10. Wildcat
    By shooting the fiction sequences with the same dreamy fish-eye unreality as the scenes showing O’Connor’s real life, the film blurs the line between the two until it’s almost nonexistent.
  11. Humane
    Caitlin Cronenberg vests her images with an eerie, confident power, but that’s more evident in her examinations of the frictions between the characters, and not so much in the tapestry of murder and mayhem that ensues.
  12. Mothers' Instinct
    Benoît Delhomme’s 1960s-set directorial debut can’t decide whether it wants to be considered camp or not, awkwardly pitching itself between a somber drama and antic melodrama.
  13. Art College 1994
    The precise contrast of stasis and flux, of the sublime and the quotidian, of simple personal dreams swallowed up by massive national ambitions, characterizes Liu Jian’s latest.
  14. Infested
    If Infested had given us a little more reason to invest in its human specimens than in the blunt mechanics of its genre trappings, then maybe some of the commentary would have clung to us like the webs do to the spiders’ victims.
  15. Terrestrial Verses
    The sense of repetition that the film leans into in order to acknowledge the inescapable grip of the state is as much a feature as it is a bug.
  16. Rebel Moon Part 2: The Scargiver
    The Scargiver feels like a loosely threaded series of grand ideas and sincere emotional beats that require so much more connective tissue to thread together into an actual narrative worth investing in.
  17. Boy Kills World
    If you’re looking for flash and snark, Boy Kills World has them in spades, but it’s too punch-drunk on its own juvenile grandiosity to bother offering even a whiff of substance.
  18. Abigail
    While there’s plenty to be said about Abigail’s impressively over-the-top scarlet mean streak, the hellride that the filmmakers take us on is all the more effective for the character groundwork laid prior.
  19. Blood for Dust
    The film is held together by the intensity of its haunted-looking cast and the dour atmosphere.
  20. The Ministry of Ungentlemanly Warfare
    To Ritchie’s credit, he keeps his film moving along at a consistently brisk clip, but that breeziness is also the cause of its weightlessness, rendering its vision of historical events as outright cartoonish, down to the often clownish portrayals of Nazis and the flawless execution of nearly every element of March-Phillips’s plans.
  21. Egoist
    Though Egoist can sometimes feel overly tidy, there’s something refreshing about its straightforward approach. Consistent with its style, which is so free of ornament, it pursues its themes with a welcome directness.
  22. We Grown Now
    The film is held together by the universal strength of its performances, particularly James and Smollett, and the elegance with which it veers between dreamy interludes and poetic flourishes stemming from Malik’s imagination and the more quotidian presentation of the small world he lives in, warts and all.
  23. Back to Black
    The film presents Amy Winehouse’s demise with a sad shrug, as one of those tragic things that just sort of happens.
  24. Omen
    The patchwork structure of Omen is suited to the complexity a setting where characters switch between French, Swahili, and English depending on who they want to keep in the dark. Yet it’s difficult to shake that there are too many threads for a film of this length to do them justice.
  25. Challengers
    Challengers is an intoxicating showcase for the beauty and excitement of bodies in motion.
  26. Arcadian
    Even as the shotgun shells start flying, it makes time for the quiet dramatic moments that carry its family drama forward amid the carnage.
  27. Monkey Man
    Monkey Man is in no rush to get where it’s going and Dev Patel puts a lot of trust in his audience to stick with him to see where it arrives.
  28. The First Omen
    Pulsating in the film’s veins is an eerie eroticism and a tactile awareness of the way the Church is controlling the bodies and minds of its women.
  29. Housekeeping for Beginners
    In spite of the too-muchness of their performances, the actors wrestle for expressiveness and subtlety against the script’s more obvious and schematic telegraphing of not-quite-nuclear discontent and, ultimately, reconciliation.
  30. Chicken for Linda!
    However pleasurable and pretty Chicken for Linda may be in its individual scenes, it doesn’t so much achieve harmony through its balancing of contrasting elements as it fully surrenders to childlike whimsy.
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