Slant Magazine's Scores

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For 7,798 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: 4,365 out of 7798
  2. Mixed: 1,498 out of 7798
  3. Negative: 1,935 out of 7798
7798 movie reviews
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  1. The Story of Film: A New Generation
    The films collected in A New Generation speak for themselves even when they don’t necessarily slot neatly into Mark Cousins’s curlicue thinking.
  2. Dos Estaciones
    For all its lush cinematography, capturing regional custom and dramatic panoramas alike, this is a film about repression, an inhibition that no amount of tequila can take away.
  3. Clerks III
    Kevin Smith toys with death in Clerks III as a shortcut to bring emotion to a film that otherwise has no meaningful hook.
  4. Saloum
    With expert visual precision, the film flows into each new, wild narrative wrinkle as if it were the most logical thing in the world.
  5. Honk for Jesus. Save Your Soul.
    After a while, you want to know what line of inquiry the film is pursuing—what greater paths it’s wandered to.
  6. Samaritan
    Perhaps the fairest description of Stallone’s performance is that it’s only as one-note as the material, his stern tough-guy muttering and grimacing just about right for a screenplay that feels like it’s been plucked out of a dustbin left untouched since 1995.
  7. Funny Pages
    Funny Pages eschews the platitudes and carefully scripted character arcs that often cause coming-of-age tales to feel not only predictable but coated in a sheen of nostalgia.
  8. Three Thousand Years of Longing
    George Miller’s film is a passionate exploration of how image-making is inextricable from storytelling.
  9. Private Desert
    Aly Muritiba’s film is always telling the viewer that death-ness and trans-ness bear the intimacy of Siamese sisters.
  10. Mother and Son
    Léonor Serraille’s Mother and Son is a lovely film about feminine strength that also refuses to glorify motherhood.
  11. Spin Me Round
    Cleansed of all risk and personality, Spin Me Round subsides, as though with a sigh, into the reheated sauce of mediocrity.
  12. The Territory
    Alex Pritz’s documentary provides an affecting look at indigenous lives at the frontline of deforestation in the Amazon.
  13. Orphan: First Kill
    William Brent Bell’s film proves that not every horror concept has the potential to be franchised.
  14. Day Shift
    Day Shift’s first half is an unexpectedly focused, consistent pleasure, while the second sags under the weight of recycled set pieces.
  15. Fall
    Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.
  16. Thirteen Lives
    Avoiding excessively heightened melodrama, Thirteen Lives doesn’t substitute it with much that one couldn’t already find in the copious amount of available coverage of the real-life incident.
  17. El Gran Movimiento
    Writer-director Kiro Rosso’s sociological, pseudo-documentary film suggests a mosaic resolving out of innumerable shards.
  18. Emily the Criminal
    The film may not suffer from didacticism, but it’s at its most volcanic when it promises to blossom into a study of a generation’s financial difficulties.
  19. The Magician
    The Magician might have worked better if it could have sustained for its first several sequences a sense of genre confusion.
  20. Prey
    Prey proves to be an apropos title, as the film is cowed by John McTiernan’s original Predator.
  21. Bullet Train
    David Leitch’s film pulls off the notable feat of making human beings out of cartoonishly violent psychopaths.
  22. A Love Song
    The film relies on wide shots of distant mountains to stand in for a fruitful interrogation of what it means to occupy the open terrain of the U.S.
  23. Vengeance
    Though its lack of emotional escalation could be read as intentional, Vengeance is ground to a repetitive halt by B.J. Novak’s preaching.
  24. Not Okay
    Not Okay doesn’t make any points that, now over a decade into the ubiquity of social media, aren’t painfully obvious.
  25. Nope
    The film’s fantastical meta-commentaries don’t completely cohere but have a winning go-for-it audaciousness.
  26. My Old School
    The film is a perfectly entertaining retelling of an offbeat tale, but it’s also superficial and borderline exploitative.
  27. The Gray Man
    The Gray Man is a noisy, flashy spectacle that piles clichés atop ludicrous plotting and sprinkles it all with half-funny quips, all in the hope of bulldozing the audience into submission.
  28. Where the Crawdads Sing
    The film spins a soapy yet dramatically inert and often tone-deaf yarn about societal rejection and female empowerment in the wetlands of North Carolina.
  29. She Will
    She Will can’t decide if its horror or comedy, nor does it strike the balance that would harmoniously hybridize them.
  30. The Deer King
    The Deer King leaves one with the impression that it hasn’t given itself enough room to truly soar.
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