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. PVT Chat
    Ben Hozie’s wry, observational film positions a young man’s repressed sexual paranoia as a reflection of a more general social malaise.
  2. A Glitch in the Matrix
    Rodney Ascher is a sly master of mining potentially jokey or gimmicky subjects for the alienation they primordially express.
  3. The Dig
    The Dig clearly relishes in having found so many fascinating real people arriving at one place at once.
  4. Saint Maud
    Rose Glass utilizes a provocative scenario for a vague and deadly serious art exercise.
  5. The Little Things
    John Lee Hancock’s The Little Things blends two modes of the serial killer film, both of which have been shepherded by David Fincher.
  6. Palmer
    After a while, the film’s parade of contrivances subsumes the acutely observed friendship at its core.
  7. Just Don't Think I'll Scream
    This intimate found-footage memoir is driven by a frantic internal monologue that will feel painfully familiar to many cinephiles in the midst of the Covid-19 pandemic.
  8. The Night
    It’s at the juncture between horror and philosophical surrealism that Kourosh Ahari’s film is at its most provocative.
  9. Malcolm & Marie
    Expending so much energy anticipating our avenues of interpretation, Malcolm & Marie leaves us with little to interpret.
  10. Identifying Features
    The film is as much about the act of seeing and observing as it is about not seeing, about struggling to recognize that which might not clarify much at all.
  11. Preparations to be Together for an Unknown Period of Time
    Lili Horvát’s film delights in wallowing in ambiguity, contradiction, and doubt.
  12. Supernova
    Supernova is so obviously structured that it often seems to be imposing meaning on its characters.
  13. No Man's Land
    No Man’s Land mostly suggests a performance of allyship on the filmmakers’ part.
  14. PG: Psycho Goreman
    This tongue-in-cheek gorefest gives the impression of an only semi-coherent joke on the audience.
  15. Locked Down
    Had the filmmakers taken a more easygoing approach, Locked Down might have landed in the realm of The Thomas Crown Affair.
  16. Outside the Wire
    The film’s arguments against endless war end up seeming more than a bit disingenuous, especially given how much time it spends glorifying the actions and morality of those who help buoy ongoing American occupation of foreign nations.
  17. Acasă, My Home
    The film is at its most moving when it lingers on the face of children who are impotent to return to the world they used to call home.
  18. The Mauritanian
    Kevin Macdonald’s film never captures the spectrum of a life lived in unimaginable extremis.
  19. Hunted
    Hunted intends to make a show of our desensitization to predator-prey relationships, but the greater purpose of its self-awareness never quite comes into clear focus.
  20. Bloody Hell
    The film’s manic blend of gore and relentlessly cheeky comedy eventually leads to diminished returns.
  21. Film About a Father Who
    Throughout, Lynne Sachs undercuts the image of the past as simpler or more stable than the present.
  22. Some Kind of Heaven
    The film is most tragic and humorous when hints of the outside world break through the suffocatingly cheerful façade of the Villages.
  23. Beautiful Something Left Behind
    Katrine Philp’s documentary boldly argues for a clear-eyed frankness in talking to bereaved children about loss.
  24. The White Tiger
    Ramin Bahrani’s film is a turbulent and snarkily self-aware melodrama about breathless social climbing.
  25. The Reason I Jump
    The film weaves together the stories of five mostly nonverbal autistic teens to present a rich tapestry of the autistic experience.
  26. Shadow in the Cloud
    Roseanne Liang leverages the absolute implausibility of the film’s later scenes into something brisk and exciting right to the very end.
  27. Herself
    Phyllida Lloyd’s film cannot escape its own somewhat mundane self-set contours.
  28. We Can Be Heroes
    Robert Rodriguez’s film, like The Adventures of Sharkboy and Lavagirl in 3-D, fundamentally lacks a sense of wonder.
  29. Sylvie's Love
    The film never finds the spark that would imbue the love affair at its center with a sense of passion or urgency.
  30. Wonder Woman 1984
    The film shows a preference for forgiveness over vengeance, which feels like an okay way to end this particular year.
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