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. Johnny English Strikes Again
    Relying on such arcane gags as prat falls in knight’s armor, fake French accents, and an array of gadget-based explosions, Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
  2. The Waldheim Waltz
    Despite Beckermann’s contemplative, even-tempered tone, The Waldheim Waltz gradually builds outrage at the subterranean persistence of fascism in postwar politics.
  3. Caniba
    Throughout Caniba, there’s a singularly disquieting relationship between the filmmakers’ formal experimentation and their subject.
  4. Galveston
    The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
  5. The Guilty
    The Guilty is a taut chamber thriller dominated by the flinty yet highly emotive visage of actor Jakob Cedergren.
  6. On Her Shoulders
    The film is most interested in homing in on the ways Nadia Murad's fragility and self-doubt arise as collateral damage from her fame and steadfast activism.
  7. Apostle
    The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
    • 66 Metascore
    • 75 Critic Score
    306 Hollywood
    Elan and Jonathan Bogarín's film blends various tones and visual styles with confidence and infectious exuberance.
  9. An Evening with Beverly Luff Linn
    The absence here of a joke is meant to be hilarious, or to at least congratulate the audience for willfully submitting to a denial of pleasure. Every element of the film is studiously, painstakingly random.
  10. The Sentence
    Rudy Valdez has no distance from the material, which works simultaneously in the film's favor and, largely, its disfavor.
  11. A Faithful Man
    It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.
  12. Barbara
    In Barbara, the process of filmmaking is shown to be a nesting series of shells that allow one to be simultaneously freed and lost.
  13. Sadie
    Sadie remains a clear-eyed portrait of maternal love, teenage turmoil, and the singular type of tight-knit bonds formed, out of necessity in many cases, in low-income communities.
  14. The Ballad of Buster Scruggs
    In their best films, the Coens mine the depths of loneliness and egotism and frailty and solipsism. But in THE BALLAD OF BUSTER SCRUGGS there's a noticeable lack of deeper insinuation, a lack of curiosity.
  15. MFKZ
    The bulk of MFKZ is composed of chases and shoot-outs that, despite their chaotic energy, drive the plot forward at a plodding pace.
  16. The Oath
    Even while it asks us to recognize ourselves in a world not too distant from our own, The Oath seems to say that the worst part of a full-fledged American dystopia would be the ruined holiday dinners.
  17. 22 July
    That a drop from John Williams’s Jaws score wouldn’t be out of place on this film’s soundtrack goes to show how tactlessly Paul Greengrass milks tragedy for titillation.
  18. Venom
    The final act's full-tilt embrace of action effectively undermines Tom Hardy's flashes of actorly idiosyncrasy.
  19. Heavy Trip
    Its story distances heavy metal from any whiff of toxic masculinity by setting Turo and company against homophobes and rakes.
  20. The Happy Prince
    For every haunting sequence in The Happy Prince, there’s five that redundantly wallow in Oscar Wilde’s misery, which is Rupert Everett’s point, but it becomes wearisome.
  21. Studio 54
    The documentary nurtures our sympathy for Steve Rubell and Ian Schrager without shortchanging their hypocrisies.
  22. Bad Times at the El Royale
    The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
  23. A Family Tour
    Ying Liang’s film is righteously and vigorously angry about injustices committed by the Chinese government.
  24. The Hate U Give
    The film lays out the complexities of contemporary race relations with a deliberateness that frequently edges over into didacticism.
  25. Over the Limit
    The film is composed of minutely observed moments that Marta Prus has assembled into an affecting narrative.
  26. Loving Pablo
    The film uncomfortably dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
  27. Private Life
    Instead of offering a probing, nuanced view of the burgeoning technologies and sciences involved in this relatively new outgrowth of the OBGYN industry, though, Tamara Jenkins uses her setting as fodder for lame and discomfiting physical comedy.
  28. Hold the Dark
    Hold the Dark's ludicrous seriousness comes to feel like a mask for what's essentially a genre story of murder and mayhem.
  29. The Old Man & the Gun
    David Lowery has a carefree, bordering on insubstantial touch, which gives rise to several rank absurdities.
  30. Her Smell
    A story of filth and fury and, eventually, of placidity and peace, Her Smell is Alex Ross Perry’s most chaotic and unmuffled film — until it isn’t.
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