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. Never-Ending Man: Hayao Miyazaki
    Kaku Arakawa's documentary is a candid snapshot of a great artist as an old man.
  2. Mary Queen of Scots
    As effective as director Josie Rourke is at exposing the emotional and physical toll of reigning as queen when exploring Mary and Elizabeth's relationship, her portrait of an endless string of betrayals ends up as simply faceless and impersonal.
  3. Dumplin'
    As it proceeds through a series of teary reconciliations in the last half-hour of its 110-minute run time, the film's didactic drama begins to grate, its treacly emotions feeling increasingly unearned.
  4. Clara's Ghost
    Bridey Elliott avoids the smug pitfalls of narratives concerned with privileged people drinking themselves into a stupor.
  5. On the Basis of Sex
    On the Basis of Sex is too often busy revering Ruth Bader Ginsburg for her confidence and brilliance to bother with presenting her as a living, breathing human being.
  6. Capernaum
    Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.
  7. The Charmer
    Director and co-writer Milad Alami's film feels like several fused-together trial drafts of the same narrative.
  8. Ben Is Back
    As the film hurtles toward its tense climax, you may find yourself both deeply resenting its narrative contrivances and passionately rooting for its protagonists.
  9. Tyrel
    Sebastián Silva never indulges platitude, and so the qualified hope of the film’s ending isn’t merely affirming but also miraculous.
  10. Spider-Man: Into the Spider-Verse
    With its fine-tuned comic timing and feeling of constant action, Into the Spider-Verse is downright invigorating, and that’s evident even before it gets to its dazzling, dimensional-colliding climax.
  11. Divide and Conquer: The Story of Roger Ailes
    Alexis Bloom’s keenly insightful and deeply depressing documentary is probably best viewed not as a record of the past but a document of what’s to come.
  12. Electro-Pythagorus: A Portrait of Martin Bartlett
    Luke Fowler allows us to access some of the intimate details of Bartlett’s life in intriguingly indirect ways.
  13. Mowgli: Legend of the Jungle
    While the film’s perception of the politics of the jungle is often profound, the same cannot be said of its take on the human world.
  14. Mirai
    The fabric of the fantasy world depicted in the film lacks the cohesion of its central theme about appreciating one’s place in a family tree.
  15. Anna and the Apocalypse
    The film's biggest problem is its inability to lend its clichés and tropes any dramatic thrust or satirical bite.
  16. Sicilian Ghost Story
    The film is determinedly unclassifiable, blurring genres with a fervor that grows tedious.
  17. Robin Hood
    Robin Hood’s shameless silliness only takes it so far, as the film is frequently undermined by Otto Bathurst’s wobbly direction.
  18. Amazing Grace
    It offers a profound glimpse of one of the greatest and most influential voices in modern music.
  19. Becoming Astrid
    Despite convincing performances, the film is hampered by its stylistic and moral conventionality.
  20. Creed II
    Creed II is absent of both the topically political atmosphere of Rocky IV and the bravura action of Ryan Coogler's Creed.
  21. The Christmas Chronicles
    The film Despite its weird flourishes, the film succumbs to the tropes and emotional contrivances of the family melodrama at its core.
  22. Fantastic Beasts: The Crimes of Grindelwald
    The Crimes of Grindelwald gets more comedic and emotional mileage out of Newt’s interactions with his various creatures, particularly the adorable platypus-like one with a nose for gold, than most of its human-centered scenes.
  23. Stan & Ollie
    At its best, Stan & Ollie shows how the private and personal dimensions of art are achingly inseparable.
  24. Ralph Breaks the Internet
    When Ralph Breaks the Internet ignores the glittering marvels of the internet and focuses on the rapport between its two leads, it's deeply moving.
  25. Shoah: Four Sisters
    By uniting these four interviews in particular, Claude Lanzmann emphasizes the impossibility of moral clarity in the unthinkable circumstances into which Germany’s invasion of Eastern Europe threw its Jewish population.
  26. Girl
    Lukas Dhont isn't really concerned with Lara's journey to find peace and balance, as he's interested only in her downward spiral of crisis.
  27. Jonathan
    The dichotomy represented by Jonathan and John is too clean for the film's exploration of a divided psyche to ever feel particularly complex.
  28. The Grinch
    The film’s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.
  29. El Angel
    El Angel‘s greatest accomplishment is in the way it charges the relationships between characters with so much eroticism but never grants us the right to watch desire — other than desire for violence — actually unfold.
  30. The Front Runner
    The film quickly reveals that the only angle it’s interested in is the one that most sympathizes with Gary Hart.
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