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. Totally Killer
    It might not be quite as incisive a piece of genre dismemberment as Wes Craven’s Scream or Drew Goddard’s Cabin in the Woods, but it has a lot of fun poking at the tricks and tropes of slasher movies all the same.
    • 82 Metascore
    • 75 Critic Score
    Hit Man
    Many of Richard Linklater’s films are united by their celebration of the pretentious in its etymological meaning of “playing pretend.” With Hit Man, he and Glenn Powell take this further by demonstrating that acting isn’t just entertainment or art—it’s also a fundamental part of our lives.
  3. Priscilla
    Priscilla’s delicate mystique struggles to free itself from an oppressive mood board imposed from without by six decades of history.
  4. The Exorcist: Believer
    The film is a mélange of tired normcore horror tropes indistinguishable from any film in the Conjuring universe.
  5. The Settlers
    The film is a blistering laceration of the contradictions and hypocrisies of European racism.
  6. Orlando, My Political Biography
    Orlando, My Political Biography languishes in an undefinable interstitial space, floating between fiction and essay film.
    • 86 Metascore
    • 88 Critic Score
    May December
    The film examines real-world events through the lens of mass media with a wry humor that masks profoundly complex and painful undercurrents of emotion.
  8. The Caine Mutiny Court-Martial
    In its own way, the film is as suitable a final work as a culminating magnum opus.
  9. Foe
    At every turn, Garth Davis’s Foe not only fails to adequately redress or rework played-out tropes within its high-concept world, but its examination of marriage and identity is also hackneyed.
    • 91 Metascore
    • 88 Critic Score
    The Boy and the Heron
    The true tragedy of The Boy and the Heron seems not to be that the blemishes of its fantasy mirror those of its reality, but that any one person should think themselves capable of sanitizing either.
  11. Saw X
    The film mostly makes you wish that a Saw film would finally let Amanda be the one that audiences worship.
  12. The Sweet East
    Sean Price Williams’s solo feature directorial debut is pretty fuzzy on what it wants its national tour of brainless dogma to mean.
  13. The Human Surge 3
    While its globe-trotting sense of wonder shows the joys of offline existence to be as profound and vivid as they ever were, its simultaneous sense of boundless possibility and stagnant futility recalls nothing so much as the chaotic, alienating realm of cyberspace that both birthed and shaped it.
    • 92 Metascore
    • 88 Critic Score
    The Zone of Interest
    The soundtrack of the Hösses’ daily lives is a reminder of the nightmare taking place just beyond the wall outside their home, and these sounds, relentless in their sense of evocativeness, give an extra layer of the uncanny to Höss’s already unsettling character.
  15. The Royal Hotel
    In this film of clammy anxiety, the potential of male violence is made to feel as scary as the actual article.
  16. The Creator
    With The Creator, Gareth Edwards finally finds the balance between arresting images and grounded emotional stakes.
  17. All of Us Strangers
    Andrew Haigh’s film always feels perched on the precipice of unlocking a deeper register.
  18. Flora and Son
    Flora and Son is far more invested in making its characters likable and cute rather than risking audience sympathies.
  19. The Holdovers
    The Holdovers is ultimately a story about the absence of family, and as it watches three individuals come together and apart, it’s subtly attuned to the way that class constricts people’s lives.
  20. Evil Does Not Exist
    Hamaguchi Ryûsuke’s Evil Does Not Exist is a turn away from the filmmaker’s empathy of his earlier work toward an aesthetic that’s jagged and chilly.
  21. Youth (Spring)
    Twenty years on from Tie Xi Qu: West of the Tracks, we return with Wang Bing to the factory floor, but this time he doesn’t muster the formal strategies or the narratological scope that once allowed him (and us) to imagine broader implications for China’s future.
    • 85 Metascore
    • 88 Critic Score
    Close Your Eyes
    Where once Victor Erice's films defined the unknown as a life not yet experienced, Close Your Eyes interprets it as a life already lived, slowly dissolving into memory.
  23. AGGRO DR1FT
    It may indeed be the perfect cinematic representation of our current media landscape, adapting to our collective brain rot from being terminally online instead of fighting against it.
  24. Dream Scenario
    Kristoffer Borgli’s film presents a perfectly absurdist setup that allows Nicolas Cage to flex his singular acting muscles in increasingly hilarious directions.
  25. The Beast
    Bertrand Bonello uncannily utilizes burdensome signs and wonders for maximum insight and agitation.
  26. Cassandro
    Like any good fighter film, Cassandro builds to the sort of incredible final bout that makes your hairs stand up and the rest of your body want to.
  27. Anatomy of a Fall
    At its best, Anatomy of a Fall is nothing less than a rigorous modern treatise on the knotty interpersonal dynamics of long-term relationships and how conveniently they can be distorted when exposed to public scrutiny.
  28. Remembering Every Night
    The film is a gentle evocation of contemporary Japanese life in its pleasures and frustrations.
  29. Robe of Gems
    A Bolañesque waking nightmare, the film insists that we come to terms with it rather than straightforwardly enjoy it.
  30. A Haunting in Venice
    In the end, any attempts that A Haunting in Venice makes at connecting post-war trauma to Halloween and the ability to commune with the dead are non-committal, and the script doesn’t do enough to communicate why any of that matters.
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