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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    • 80 Metascore
    • 75 Critic Score
    A Still Small Voice
    The film does a fine job of holding a mirror to the experience of therapeutic practice.
  2. The Marsh King's Daughter
    Once the film turns into a paranoid home-invasion thriller, there’s no ambiguity left to the tale.
  3. Beyond Utopia
    The searing images of various gulags, public executions, and private beatings will not be easily forgotten.
  4. The Bikeriders
    The sheer exuberance of the story and the stylistic brio of Jeff Nichols’s direction often compensate for the film’s lack of authenticity.
  5. Anselm
    Anselm is ultimately an extension of Kiefer’s “protest against forgetting,” as it reminds us that art is an act of remembrance.
  6. Pain Hustlers
    The excitement that the film tries to generate for its main characters is disturbingly glib.
  7. Freelance
    By its conclusion, what we’re left with is a cinematic Frankenstein, whose disparate genre elements have been cobbled together without much consideration or fuss.
  8. Five Nights at Freddy's
    Five Nights at Freddy’s has absolutely no idea what kind of ride it wants to be.
  9. Nyad
    As the film wears on, Diana’s personal motivations are increasingly blurred, and to the point that she comes to be defined almost exclusively by the adversity over which she triumphs.
  10. Rustin
    Organizing is thankless work, and even though the film, like others in its lineage, functions as an ode to the unsung workers for the revolution, it only turns that tedium to spectacle, rarely willing to truly think about organizing as, well, boring.
  11. Four Daughters
    A fascinating metacommentary courses beneath the film’s emotional storytelling surface.
  12. Ferrari
    That liminal space between the peaks and the valleys of a person’s life is what Michael Mann is most interested in exploring.
  13. Eureka
    The genre trappings are familiar, but this isn’t any old horse opera.
  14. When Evil Lurks
    Demián Rugna’s harrowing film spares no one from the cruelty of its world.
  15. The Killer
    David Fincher dabbles in the pleasures of genre without ever allowing the outlandish scenario to be treated with more respect than it deserves.
  16. Killers of the Flower Moon
    Killers of the Flower Moon is a three-hander on an epic canvas, a corrosive analysis of America’s colonialist and capitalist excesses as refracted through a marital melodrama in the vein of George Cukor’s Gaslight or Alfred Hitchcock’s Suspicion.
  17. Ryuichi Sakamoto | Opus
    Under Sora Neo’s direction, each number becomes a mini-study of Sakamoto and the grand piano he plays on.
  18. Menus Plaisirs - Les Troisgros
    With Menus-Plaisirs Les Troisgros, Frederick Wiseman proves again to be the master poet of micro textures that speak to the macro of social infrastructure.
  19. The Shadowless Tower
    The characters’ generational angst humanizes the film’s view of a nation at a crossroads.
  20. In Our Day
    For Hong Sang-oo, In Our Day is a gesture toward recognizing the beautiful, awful, and uncanny.
  21. Divinity
    The story’s attempt at an excoriation of spectacle and empty pleasure comes off as little more than a reluctant swipe.
  22. Once Within a Time
    The film proposes that, in the search for viable alternatives to techno-fascism and climate apocalypse, we might look to the margins of our world, to unfulfilled experiments (including those of cinema) and cultures supposedly left behind by history.
  23. Janet Planet
    Annie Baker’s spare dialogue style remains intact, with each line revealing of character and mood.
    • 88 Metascore
    • 75 Critic Score
    Pictures of Ghosts
    As always with Kleber Mendonça Filho, to reflect reality isn’t enough, as cinema has to find its own truth, even if it takes some imagination to get there.
  25. Green Border
    The journeys that Jan and Julia undergo feature such obvious narrativization that they cannot help but feel a bit out of sync with the more observation segments featuring the refugees.
  26. Maestro
    With Maestro, Bradley Cooper has essentially reduced Leonard Bernstein’s boundary-pushing life and legacy to the sum total of its most accessible (read: audience-friendly) elements: his interpersonal relationships.
    • 87 Metascore
    • 50 Critic Score
    All Dirt Roads Taste of Salt
    Comparisons to the work of Terrence Malick and Julie Dash are inevitable, but Raven Jackson’s search for the sublime lacks both the rich philosophical inquiries of the former and the dense, lived-in specificity of the latter.
  28. Dicks: The Musical
    In the instances where it’s not going hard, Dicks is a surprisingly flaccid affair.
  29. The Burial
    This flashy legal melodrama is fitfully stirring but too flabby to deliver the walloping blow that it needs.
  30. Poor Things
    As imaginative as the film’s comedy can be, its greatest asset is Emma Stone’s ability to situate Bella Baster first as jester, then as the emotional foundation upon which the whole of Poor Things is built.
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