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. Sonic the Hedgehog
    Throughout, any and all subtext is buried under the weight of Jim Carrey’s mugging.
  2. The Misogynists
    Onur Tukel’s film doesn’t live up to the promise of this fleet-footed opening.
  3. Downhill
    Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
  4. Buffaloed
    The filmmakers allow their characters to learn the usual humanist lessons, in the process eliding the ramifications of their scenario.
  5. The Times of Bill Cunningham
    The film undermines Cunningham’s egalitarianism by linking him directly with the kind of elite snobbery and wealth fixation he abhorred.
  6. The Cordillera of Dreams
    For Patricio Guzmán, to gaze at the Cordillera is to comprehend the range of history and the possibility of its distortion.
  7. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Birds of Prey feels at times less like its own story and more like a trailer for what’s coming next.
    • 68 Metascore
    • 75 Critic Score
    And Then We Danced
    Levan Akin offers up a swooning gay romance as the centerpiece from which all of his other ideas radiate.
  9. Cane River
    The film’s awkwardness is expressive of the pain and confusion of wrestling with truths that shake one’s conception of identity.
  10. The Lodge
    It’s best appreciated not with the parts of your brain responsible for reason and judgment, but in the unthinking terror centers, where the film’s style of God-fearing fanaticism also resides.
  11. Gretel & Hansel
    Beginning with the reversed names in its title, the film announces itself as a distinctly feminine spin on the Grimm fairy tale.
  12. Incitement
    Admirably, Yaron Zilberman’s film focuses on the cyclical nature of violence in a decades-old conflict.
  13. The Rhythm Section
    The film’s occasional gestures toward pseudo-feminist empowerment only compound the hollowness of its protagonist.
  14. José
    Li Cheng gets much closer to capturing his characters’ predicaments when he trusts the images alone.
  15. To the Ends of the Earth
    If Kurosawa is less interested in narrative dynamics, it’s because he’s focused on an acute understanding of societally and sociologically conditioned behavior.
  16. The Turning
    The film casts its source narrative as a delusional fantasy through which to enact the effects of possible traumas that go completely unexplored.
  17. The Last Full Measure
    The film largely evades any perspectives that might question the institutions that put our soldiers in harm’s way.
  18. Dolittle
    Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
  19. Bad Boys for Life
    The film may leave you wondering what purpose this franchise serves if not to give expression to Michael Bay's nationalist, racist, and misogynistic instincts.
  20. Intrigo: Death of an Author
    The film evinces neither the visceral pleasures of noir nor the precision to uncover deeper thematic resonances.
  21. Weathering with You
    Contemporary outrage could’ve potentially counterpointed the film’s increasingly mawkish tendencies.
  22. VHYes
    The film settles much too comfortably into the well-trodden footsteps of other works.
  23. Like a Boss
    Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
  24. Earth
    With Earth, Nikolaus Geyrhalter’s visual strategy is to wow us with tangibility and data, though he doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
    • 48 Metascore
    • 38 Critic Score
    Underwater
    William Eubank’s Underwater is neither a too-big-to-fail event film nor a relatively low-budget genre sleeper. In other words, it doesn’t put in the effort to reach for the heights of Alien or plant its tongue firmly in cheek a la Deep Blue Sea.
    • 51 Metascore
    • 25 Critic Score
    The Gentlemen
    The London of this film is practically a match for Guy Ritchie’s filmmaking: a characterless mockery of its former glories, smooth and bland and just a bit more monied than before.
  27. The Informer
    Outside of the Easy Money series, Kinnaman has rarely been allowed to utilize his tightly wound intensity this explicitly.
  28. Les Misérables
    The film serves as both caustic update to Victor Hugo’s monolithic novel and cautionary tale about the future.
  29. Three Christs
    By the end, it’s as if a good doctor’s god complex has been taken up by the film itself.
  30. The Grudge
    Nicolas Pesce evincing little of the promise he showed in his prior films, and even less drive to remake the old into something new.
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