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. Scarlet
    The film drifts so far into weightless fantasy that it practically dissipates before one’s eyes.
  2. Armageddon Time
    The film is an illustration of the transition from the ethical pliancy of youth to the moral discernment of adulthood.
    • 66 Metascore
    • 38 Critic Score
    White Noise
    The film rarely articulates the book's ideas with any real sense of the outside world without resorting to the easy exaggerations that Don DeLillo peddled in the name of satire, which, while maybe fresh back in 1985, ring completely hollow today.
  4. Saint Omer
    If courtroom dramas are usually about taking a stand, Saint Omer shows us that the most impactful truths often go unspoken.
  5. Amsterdam
    The film recalls nothing less than Inherent Vice in its use of a threadbare detective narrative to explore both human interactions and grander ideas about the American society of its time.
  6. All That Breathes
    Shaunak Sen’s documentary is both otherworldly and humanizing, as if it were bridging a gap between different forms of existence.
  7. Hellraiser
    Any ambiguity over the veracity of the story’s events is quickly jettisoned to adhere to the demands of the leaden slasher-film plotting.
  8. Deadstream
    The film doesn’t quite live up to its promising premise and handful of clever camera gimmicks.
  9. Descendant
    With Descendant, filmmaker Margaret Brown finds poetry where most would see the opportunity for a polemic.
  10. Bones and All
    Both Taylor Russell and Timothée Chalamet are sadly at a disadvantage given how many of the older actors gnaw at the scenery like it’s a still-warm cadaver.
  11. Till
    Because of Chinonye Chukwu’s willingness to let small-scale, ancillary scenes play out unhurried and at length, Till taps into to a deeper well of emotions than most biopics.
  12. Master Gardener
    For Paul Schrader, even a film called Master Gardener ultimately pivots on a man having to take out the macho trash.
  13. Project Wolf Hunting
    There’s an admirably propulsive, single-minded sense of purpose to the film’s commitment to gore.
  14. The Greatest Beer Run Ever
    When it decides to sober up, the film’s comedy lurches into awkward attempts at melancholy.
  15. Stars at Noon
    In Claire Denis’s film, sex is the great equalizer, or at least the act that allows people to defer taking a firm moral or ethical stance.
  16. Walk Up
    With each new film, Hong Sang-soo’s work becomes more subtextual, more fraught, even funnier.
  17. A Couple
    A Couple ultimately constitutes not so much a footnote to Frederick Wiseman’s storied career as a beguiling little doodle in its margins.
  18. Ticket to Paradise
    George Clooney’s and Julia Roberts’s undimmed charisma brings enough grace notes to Ticket to Paradise that you could easily be taken in by its low-stakes frivolity.
  19. Smile
    Everything Smile is doing is familiar enough at this point to be considered old-fangled, but the striking precision of its craft sloughs away any sensations of déjà vu.
  20. My Imaginary Country
    By the end of My Imaginary Country, Guzmán has still not moved past the trauma of history. Nor, he suggests, has Chile. Not yet. But he does leave open the possibility of a future not beholden to that trauma and a nation that might now be able to write a new history for itself.
  21. The Banshees of Inisherin
    As dark as things get, the film never abandons its sly sense of humor.
  22. TÁR
    The film is consistently compelling visually and aurally, but neither Todd Field nor Cate Blanchett seem quite decided on whether Tár’s comeuppance is a grand tragedy or a cosmic joke.
  23. On the Come Up
    Jamila C. Gray lends credibility to Brianna Jackson, who happens to be searching for just that. She plays the damn role.
  24. Petrov's Flu
    Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia, or its Soviet past festering just beneath the surface.
  25. How to Blow Up a Pipeline
    Few films feel as excitingly jacked in to our current social climate as Daniel Goldhaber’s How to Blow Up a Pipeline.
  26. Catherine Called Birdy
    In simplistic and self-congratulatory fashion, the film renders its main character as a sort of feminist crusader who undermines the sexist traditions of her time.
  27. The Good Nurse
    For a while, the work on the part of the performers is nuanced enough to distract us from the film’s implausibilities.
  28. Sick
    Throughout, the film’s characters impressively hold their own when forced to defend their lives, with director John Hyams catching every incident of bone-crunching mayhem as if he were shooting a martial arts film.
  29. Living
    Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.
  30. All the Beauty and the Bloodshed
    The warm, rueful, and sometimes angry All the Beauty and the Bloodshed accomplishes the goal of any documentary worthy of its genre by shining an insightful light onto what informs an artist’s vision.
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