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. Metal Lords
    Peter Sollett’s coming-of-age comedy betrays rather than upholds the values of the very kids it wants to revere.
  2. Aline
    Valérie Lemercier’s film feels at once like a vanity project for its maker and a glorified fan tribute.
  3. Fantastic Beasts: The Secrets of Dumbledore
    With this film, nuance seems to have disapparated from the wizarding world altogether.
  4. Donbass
    The film’s collisions between the grave and the comic are crucial to its vision of a society cracking under the weight of its own inconsistencies.
  5. Cow
    Throughout Andrea Arnold’s film, a kind of affective connection is formed between animal and the cinematic apparatus.
  6. The Bubble
    The film’s toothless showbiz satire mostly comes down to teasing its characters for their entitlement and self-importance.
  7. Barbarians
    Throughout, Barbarians oscillates between smugness and apprehensiveness about the film that it’s trying to be.
  8. Apollo 10½: A Space Age Childhood
    Apollo 10½ ultimately suggests that memory distorts and amplifies just as much as it preserves.
  9. Gagarine
    The film is at its most effective and engaging when simply capturing the vibrancy of a world onto its own.
  10. Babi Yar. Context
    Sergei Loznitsa continues to mine the archives for what amount to living documents of a past that, as is all too clear, reverberate into the present with devastating force.
  11. The Contractor
    The film’s rote action-movie plotting is calibrated in a ponderously straight-faced way so as to give it some semblance of gravity.
  12. Nitram
    Implicit in the film’s bleak but sympathetic portrait of a disturbed and shunned young man is that sometimes it takes a village to make a monster.
  13. The Girl and the Spider
    Zürcher spins byzantine webs of audiovisual stimuli from an ultimately modest dramatic core, and not only is the larger narrative design unclear before it’s finally revealed, it’s easy to get stuck dwelling on the minutia along the way.
  14. Mothering Sunday
    For all of the film’s somberness, its depiction of an era of rigid class divisions and incalculable loss still comes through the hazy, soft-focus goggles of nostalgia.
  15. Everything Everywhere All at Once
    The film works magic by embracing excess, finding a kind of harmony and possibility within it, and reminding us of the beauty and lunacy of the human experience along the way.
  16. You Are Not My Mother
    The primacy that it places on its dopamine drip of dread undercuts whatever genuine commitment it might have toward mental illness and trauma.
  17. Infinite Storm
    Not only does Infinite Storm lack for a complete vision, it’s all too comfortable in settling for mawkishness.
  18. The Lost City
    The Lost City is proof that star power and chemistry can only take a film with a mediocre script so far.
  19. Windfall
    Windfall has a difficult time landing on the right tone or getting a bead on its characters.
  20. Deep Water
    After a dangerous, even personal, first half, Deep Water becomes crude in all the wrong ways.
  21. X
    While still intermittently thrilling as a basic retro-outfitted slasher, X ultimately comes off in a way that no porn (or horror) film should: like a tease.
  22. Jane by Charlotte
    The film neglects to find a conceptual framework for its prolonged consideration of Charlotte Gainsbourg’s eventual revelation: “I have always loved you, but it’s much clearer to me now.”
  23. The Outfit
    The Outfit is a dapper, twist-filled crime story that relies more on dialogue than gunplay to move the action.
  24. The Adam Project
    Ultimately, the film tries so hard to do so much that it doesn’t end up doing any of it particularly well.
  25. Ultrasound
    Ultrasound never quite figures out how to keep going once its mysteries have been unraveled.
  26. Offseason
    Keating’s film forgets the cardinal rule of good pastiche: that if you’re not building something new from familiar pieces then you’re just regurgitating old ideas.
  27. Gold
    Throughout, Efron seems almost determined to wipe away the last vestiges of his youthful looks.
  28. Turning Red
    After a first hour that may well hit Zoomers and their millennial parents in the feels, Turning Red gradually runs out of steam.
  29. Great Freedom
    In Great Freedom, the question of love is refreshingly never too far from bodily intimacy, irrespective of what kind of love that is.
  30. Huda's Salon
    Formally, Huda’s Salon is nothing if not effective, sustaining the unrelenting tension of its opening scene for the duration of its runtime.
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