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. Slay the Dragon
    The film is suitably direct, clear-eyed, and exhaustive in documenting the massive impacts that gerrymandering has, particularly on communities of color.
  2. Big Time Adolescence
    The film is at its weakest when it has to do drama, since the fallout of Mo and Zeke’s actions feels perfunctory and tossed-off in the rush to an ending, a hasty come-down after the proverbial party.
  3. Welcome to Chechnya
    David France’s most remarkable accomplishment emerges from an aesthetic commitment of a very particular kind.
  4. The Way Back
    The film makes the path to basketball glory and the road to personal redemption seem oddly effortless.
  5. Hope Gap
    So many grandiose tactics portend a grander revelation than the film’s otherwise low-key three-hander delivers.
  6. There Is No Evil
    The film grapples with the various shapes that guilt and honor (or lack thereof) might take in a context of state-sanctioned death.
  7. The Burnt Orange Heresy
    The film allows that we are complicit in privilege for our fascination and envy.
    • 92 Metascore
    • 88 Critic Score
    Never Rarely Sometimes Always
    Driven by the potency of its social intentions, the film is so authentically felt that it becomes hyper-real, a nightmarish disquisition about how entire systems are rigged against women that would feel academic if it didn’t play out against earnest performances of tender teenage emotions.
  9. Sorry We Missed You
    It’s difficult to imagine a more socially engaged or powerful condemnation of the exploitative gig economy than Ken Loach’s latest.
  10. Days
    Reciprocity might be impossible in a world rigged against queerness, Tsai seems to say, which doesn’t mean that certain things can't still be shared.
  11. Undine
    The film questions the fixed nature of human behavior in a world whose borders are constantly shifting.
  12. Siberia
    Abel Ferrara doesn’t require traditional dream logic, as his grasp of the nitty-gritty quotidian of longing is inherently uncanny.
  13. The Roads Not Taken
    The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
  14. Saudi Runaway
    Camera, character, and cameraperson are one throughout, and the effect is exquisitely suffocating.
  15. Swallow
    Fortunately for the film, Carlo Mirabella-Davis continually springs scenes that either transcend or justify his preaching.
  16. Emma.
    This lively adaptation plays up the novel’s more farcical elements, granting it a snappy, rhythmic pace.
  17. The Trouble with Being Born
    In the end, the film suffers from the same issue as its moody androids: enervation borne out of repetition.
  18. The Invisible Man
    Through to the end, you can’t get off on the thrill of this film’s craftsmanship without also getting off on the spectacle of more than just Cecilia brought to the brink of destruction. Like its style, The Invisible Man’s cruelty is the point.
  19. The Assistant
    With The Assistant, writer-director Kitty Green offers a top-to-bottom portrait of incremental dehumanization, and, on its terms, the film is aesthetically, tonally immaculate.
  20. Guns Akimbo
    Writer-director Jason Lei Howden’s humor might have been tolerable if his film was at least reasonably imaginative.
  21. The Salt of Tears
    Philippe Garrel illustrates the absurdity behind the myth of the complementary couple with the same cynicism that permeates his previous work but none of the humor or wit.
    • Slant Magazine
      • Posted Feb 23, 2020
  22. Greed
    The film takes occasional stabs at comic grotesquerie, but it’s brought back to earth by an insistent docudrama seriousness.
  23. Saint Frances
    It has almost enough genuine charm and heart to compensate for the moments that feel forced.
  24. Wendy
    Wendy veers awkwardly and aimlessly between tragedy and jubilance, never accruing any lasting emotional impact.
  25. Disappearance at Clifton Hill
    What distinguishes the film from much of its ilk is Albert Shin’s ongoing taste for peculiar and unsettling details.
  26. Onward
    While Onward begins as a story of bereavement, it soon turns to celebrating the payoffs of positive thinking.
  27. Once Were Brothers: Robbie Robertson and The Band
    Robertson’s sense of having witnessed friends and collaborators get washed away by bitterness and addiction was more fulsomely evoked by The Last Waltz.
    • 48 Metascore
    • 75 Critic Score
    The Call of the Wild
    The film’s avoidance of cruel Gold Rush realities is more than made up for by its spirited kineticism and by its deepening of the man-dog bond that forms the heart of London’s story.
  29. Corpus Christi
    It’s within the murky realm of self-doubt and spiritual anxiety that it’s at its most audacious and compelling.
  30. The Photograph
    The film is at its best when it’s focused on the euphoria and tribulations of its central couple's love affair.
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