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. Air
    Air is shot through with an infectious energy, but it’s more poignant for the way that it rhymes the histories of its actors in the public eye with all that Nike’s creatives were struggling to reconcile when they were chasing after Jordan.
  2. Arnold Is a Model Student
    Even at its most confrontational, the film maintains a carefully controlled deadpan tone.
  3. Tótem
    Tótem is a film of unexpected beauty, using its main character as a conduit for exploring the quandaries of a family navigating matters of love, heartbreak, class, innocence, and, perhaps most prominently, mortality.
    • 79 Metascore
    • 50 Critic Score
    Nam June Paik: Moon Is the Oldest TV
    The film might have benefited from taking a page out of Nam June Paik’s Zen for Film and slowed down its flow.
  5. Tori and Lokita
    The film subjects its main characters to one indignity after another, and to such a suffocating degree that it crosses the line between representation and exploitation.
    • 64 Metascore
    • 38 Critic Score
    The Lost King
    The film, a shabby account of the story behind the story, muddles its themes and only superficially conveys the importance of the historical insights it contains.
  7. A Good Person
    The more that Zach Braff’s script tries to thematically tie its disparate threads together, the more that A Good Person comes to resemble the very same type of neat and tidy self-contained version of reality that it ironically skewers in its prologue.
  8. Smoking Causes Coughing
    Smoking Causes Coughing isn’t just an anti-superhero superhero film, but, thanks to Tristram Shandy-like levels of discursivity, something akin to an anti-film.
  9. Polite Society
    From the first blow to the last, Polite Society is a charm offensive that simply doesn’t let up.
  10. Shazam! Fury of the Gods
    The film fails to build on the whimsical foundation of the first film in any way.
  11. Boston Strangler
    While the film’s determination to spotlight the women who brought down the Boston Strangler over the killer himself is admirable, it leaves a hole in the middle of the film that nothing else really manages to fill.
  12. John Wick: Chapter 4
    In the gradual development and expansion of the Wickaverse, the filmmakers seem to have lost the thread of what makes the first and, at times, second film in the series work so well.
  13. Stonewalling
    Stonewalling is an attentive, engaged character study, an uncommonly candid (for China) women’s picture, and a film of dense and considered sociopolitical implications.
  14. Scream VI
    It simply picks up the baton from the previous film, relying on a series of increasingly nasty, and at times exciting, kills to thrill audiences, while leaving everything in between to feel as fake as its vision of the Big Apple.
  15. Chevalier
    Chevalier doesn’t match the revolutionary spirit of Joseph Bologne’s life, but there’s still a lot of enjoyment to be taken from seeing a towering figure, long forgotten by history, returned to his rightful place at center stage.
  16. Champions
    As Champions tediously veers between the increasingly rote narrative beats of an inspirational sports story and a love story of opposites attract, it further stresses its own archaic qualities with a consciously anachronistic soundtrack that includes Chumbawamba’s “Tubthumping,” EMF’s “Unbelievable,” and Outkast’s “Hey Ya.”
  17. Revoir Paris
    The film is a quietly gutting ode to Paris’s resilience in the post-Bataclan era.
  18. The Five Devils
    The film is a thorny exploration of how individuals’ personal ordeals can quickly merge into an impenetrable thicket of irreparable relationships.
  19. The Innocent
    The innocent, it turns out, isn’t a single character but the person inside us all, playing at the version of ourselves we’d rather be.
  20. On the Adamant
    Unwilling to risk subjectivity or authorial input, and also lacking in the forensic detail that might have provided a more in-depth analysis of the Centre de jour l’Adamant and its functioning, On the Adamant ultimately feels half-formed.
  21. Music
    Initially, more than mere fun, Angela Schanelec’s approach to storytelling is surprisingly affecting, but once you’ve figured out how to play, the game begins to feel a bit, well, ancient.
  22. Sansón and Me
    Sansón and Me has a way of frustratingly pulling focus away from its ostensible subject.
  23. Gods of Mexico
    If Gods of Mexico harkens back to certain traditions of visual representation, Helmut Donsantos’s counterintuitive recombination of what would seem to be mutually exclusive inspirations, each with its own temporal framework, allows him to offer for our contemplation a vision uniquely his own.
  24. in water
    Connoisseurs of Hong Sang-soo’s cinema will no doubt be fascinated by the transcendent minimalism of the film, which suggests Picasso knocking off a sketch on a piece of paper in a matter of seconds.
  25. The Origin of Evil
    The Origin of Evil recalls Ruben Östlund’s Triangle of Sadness for how its prolonged, soft-peddled skewering of the wealthy seems convinced of its Buñuelian irreverence.
  26. The Worst Ones
    Part of what makes The Worst Ones tick with a pace close to that of a thriller is its self-reflexive relationship to genre and knack for referentiality.
  27. Hunt Her, Kill Her
    Hunt Her, Kill Her simply isn’t tight enough to maintain the tension that it seeks to create.
  28. The Plough
    The sort of gravitas that seems necessary for the most satisfying of French clichés to amount to playful reworkings, not tired repetitions, only makes a few appearances throughout the film.
  29. Afire
    Afire builds a story that begins as a hangout comedy with a sad-sack at its center but gradually becomes a slow-motion conflagration that offers no easy answers.
  30. The Teachers' Lounge
    While Ilker Çatak’s The Teacher’s Lounge makes full use of the dramatic possibilities inherent in its setting, it doesn’t exceed its remit by turning the story into a referendum on society.
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