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. TRON: Ares
    For a story that seeks to champion the unpredictability and finite quality of life, Ares ultimately feels trapped by the inertia of working within the parameters set by its no less flimsy predecessors.
    • 78 Metascore
    • 75 Critic Score
    Miroirs No. 3
    Christian Petzold has crafted yet another sneakily trenchant commentary on How We Live Now.
  3. Urchin
    Harris Dickinson imbues the film with a singular style, as well as a self-awareness that’s introspective without stooping to outright self-flagellation.
  4. 100 Meters
    To get to the primal thrill of racing, Iwaisawa Kenji uses just about every technique at his disposal.
  5. Two Prosecutors
    The film is a satiric look at Stalinism and bureaucracy with shades of Kafka, Orwell, and Gogol.
  6. Resurrection
    At times, Resurrection seems to outright taunt viewers for trying to make sense of it all.
  7. The Love That Remains
    Hlynur Pálmason, who has a background in visual art, explores the film’s family dynamics through a vignette-like structure that sometimes feels akin to walking through an art exhibition.
  8. V/H/S/Halloween
    Every segment passes the basic scary-movie smell test of showing you something that you haven’t seen before, and that includes a truly depraved death involving a large quantity of gumballs.
  9. Play Dirty
    Shane Black’s film plays like a misguided action extravaganza from the 1980s.
  10. The Fence
    The late Bernard-Marie Koltès’s 1979 play isn’t opened up so much as clinically dissected by the film, with every character an enfeebled pawn in situations they’re at a loss to resolve.
  11. Springsteen: Deliver Me from Nowhere
    There are plenty of real-life anecdotes that Scott Cooper draws from Warren Zane’s 2023 book Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska, but they’re filtered through the hoariest of biopic clichés.
  12. Sisu: Road to Revenge
    Much of Road to Revenge plays like a spectacularly gory silent film, with Aatami taking out scores of Red Army soldiers in action scenes that are as inventive as they are incredibly funny.
  13. Bugonia
    The film unearths new depths of existential anxiety engendered by the increasingly tumultuous 2020s.
    • tbd Metascore
    • 63 Critic Score
    Gavagai
    The film is a complex treatise on hierarchies of race, gender, and power in the contemporary art world.
  15. Trains
    The film's chronological rigor imparts an "on-rails" historical linearity, a sensation of inexorable progress and doom.
  16. Nouvelle Vague
    There’s an apparent contradiction between the radical spontaneity that Godard chases throughout the making of Breathless and the more conventional narrative approach of Linklater’s film, though spontaneity was perhaps always incompatible with the nature of this project.
  17. Good Boy
    A horror tale told from the perspective of a dog, Ben Leonberg’s Good Boy is the sort of film that was always destined to live and die by the strength of its central gimmick.
  18. Bone Lake
    The horror here proves as much a dead end as the main characters’ relationship.
  19. A House of Dynamite
    Kathryn Bigelow’s nerve-shredding A House of Dynamite stares down impossible questions about an unthinkable scenario.
    • 53 Metascore
    • 50 Critic Score
    Anemone
    Anemone is unable to tell a family story that lives up to its visual splendor and enigmatic atmosphere.
  21. Romería
    Carla Simón’s instinct for sketching in crucial narrative and character detail within a naturalistic context remains as unerring as ever.
  22. The Strangers: Chapter 2
    Mostly notable for its distracting resemblance to Rick Rosenthal’s Halloween II, Chapter 2 suggests for a while a needlessly extended epilogue to the first film.
    • 80 Metascore
    • 63 Critic Score
    The Mastermind
    The Mastermind marks a new chapter in Kelly Reichardt’s ongoing tapestry of American life through the eyes of its eccentric outsiders, specifically capping off a trilogy about the intersection of art and commerce at differing stages of American capitalism.
  24. Black Phone 2
    Throughout, Scott Derrickson collapses dreams, reality, past, and present sidelong into a singular cinematic haunted space.
  25. After the Hunt
    While its desire to question absolutes is admirable, there’s a hollowness at the film’s core that prevents it from having a more pointed impact beyond surface provocation.
    • 67 Metascore
    • 63 Critic Score
    Dead Man's Wire
    If Dead Man’s Wire adds up to less than the sum of its vicarious jolts and sardonic jabs, it’s perhaps a result of Gus Van Sant’s style fading into the background.
    • 70 Metascore
    • 50 Critic Score
    The Last One for the Road
    The Last One for the Road gives itself over to an aimlessness that doesn’t so much reflect the characters’ lives as it does the script’s lack of commitment to interiority.
  28. No Other Choice
    Across the film, “no other choice” becomes a kind of disingenuous mantra, demonstrating how platitudes and apathy reinforce a violent status quo.
  29. Him
    The film leaves you wishing that the aspirational way the sport is presented in real life had been read for filth.
  30. What Does That Nature Say to You
    Hong Sang-soo’s aesthetic is key to the resonance of his latest examination of an artist’s life.
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