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. A Shape of Things to Come
    The film suggests a fusion of an eco-doc and acid western, and this disparity between genres results in a mysterious tension.
  2. Language Lessons
    Had the film trusted its self-imposed minimalism a little more, it might have been a lot more successful as a character study.
  3. Raya and the Last Dragon
    On its own gorgeously depicted terms, this film sticks the landing as a celebration of hope, a manifestation of what unfettered trust in our shared humanity could look like.
  4. Lost Course
    What distinguishes the film from ordinary journalism, and what constitutes its intervention in reality, is a difference in timescale.
  5. My Salinger Year
    The film fails to effectively seize on how its main character’s life and work experiences have affected her as a person and artist.
  6. The SpongeBob Movie: Sponge on the Run
    If the SpongeBob franchise has finally gone on the run, it seems like it’s left the audience that matters most in the dust.
  7. Cherry
    Though the film touches on numerous hot-button topics and is packed with incident and humor, its self-aware style—from straight-to-camera narration to slow motion to visual tricks like the washing out of an entire background so a character will pop out in bright color—and simplistic characterizations deprive it of the chance to say much of anything.
  8. My Darling Supermarket
    If the world outside the Supermercado Veran is rife with poverty and crime, we wouldn’t know it from inside this little cocoon.
  9. Crisis
    Time and again, the film shortchanges the human elements of its stories for drug stats that can be Googled in a matter of seconds.
  10. Rifkin's Festival
    As Rifkin’s Festival drones on, the wastefulness grows offensive in a manner that’s unusual even for Woody Allen’s misfires.
  11. The Vigil
    Keith Thomas’s film hums with uncanny dread, milking the close juxtaposition of living and dead for all its worth.
  12. The United States vs. Billie Holiday
    The film finds its purpose most pointedly when it zeroes in on the unambiguous relationship between Holiday and “Strange Fruit.”
  13. Sin
    Andrei Konchalovsky’s film is fascinated with the creation of great art in the midst of socio-political turmoil.
  14. Test Pattern
    The film strikingly punctuates the detachment of realist drama with the expressionism of psychological horror.
  15. Fear of Rain
    The film portrays mental illness with all the nuance and insight of Jared Leto in Suicide Squad.
  16. Barb & Star Go to Vista Del Mar
    Best exemplified by its fixation on culottes, the film never feels like more than a half-formed in-joke between close friends.
  17. The Wanting Mare
    It’s as if Nicholas Ashe Bateman is commenting on a distinctly American suburban malaise, using a fictional place, digitally made, to get at a real, painful truth about being stuck in a place you didn’t choose, amid circumstances you didn’t create.
  18. CODA
    The film is at its most moving in those rare moments when it’s capturing the nourishing bonding ritual among a deaf family.
  19. Cusp
    At its best, the documentary’s aura of desolation suggests a verité version of Peter Bogdanovich’s The Last Picture Show.
  20. Land
    The film’s overtly non-specific title is surely meant to suggest some kind of pared-down elementality, but, in the end, it mostly just reflects the story’s lack of definable character.
  21. Passing
    A sickened rage and psychological nuance courses through every meticulously arranged frame of the film.
  22. Prisoners of the Ghostland
    The film is a profound disappointment in part because it feels so overdetermined to live up to Sion Sono and Nicholas Cage’s respective brands.
  23. On the Count of Three
    Jerrod Carmichael is a volatile director and an electric actor, but Ari Katcher and Ryan Welch’s screenplay routinely force the characters into formulaic, trivializing scenarios.
  24. Little Fish
    The film gets at the profound truth that our relationship with another person is, at its core, a collection of shared memories.
  25. Earwig and the Witch
    The problem with Earwig and the Witch has more to do with its confused plotting than its more or less serviceable animation.
  26. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    Questlove’s Summer of Soul is as much an essential music documentary as it is a public service.
  27. Censor
    Censor unfortunately pulls back from its social interrogation just when it’s working up a head of steam.
  28. Judas and the Black Messiah
    Shaka King’s film, anchored by two sterling lead performances, complicates the expected narrative of martyrdom.
  29. How It Ends
    The film is so economical in its momentum, and its tone of comic wistfulness so uniform, that its string of tableaux rarely feels jerky.
  30. The World to Come
    The film presents a world that too often feels as if it’s a product of the present day.
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