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. Long Day's Journey Into Night
    Somehow, Bi Gan’s film is self-aware and fluid as its own viewing experience, yet inextricable from its loud-and-clear influences.
  2. Monsters and Men
    Like many films tackling socially inflammatory material, Monsters and Men is constrained by its politics.
  3. Black '47
    As the historical specificity embedded in the film’s more expansive opening act is abandoned, the more predictable, archetypal trappings of a revenge narrative begin to take hold.
  4. If Beale Street Could Talk
    The film is at its most potent in the scenes where human frailty and the specter of injustice come more elliptically to the surface.
  5. At Eternity's Gate
    This is both a fitting tribute to an artist who rebuffed conventional painting techniques, and a disappointingly self-indulgent exercise, the efforts of a filmmaker whose affinity for abstractions often interfere with the story he’s trying to tell, and distract from the purported subject of the film.
  6. Assassination Nation
    Assassination Nation carelessly affirms the idea that all women should be able to fight back at will, and if they don’t, it’s on them.
  7. Bad Reputation
    The documentary often struggles to extract deeper thoughts from its subject about her wild career as a pioneering rock feminist.
  8. Smallfoot
    There’s something undeniably ballsy about a children’s film that’s so insistent about pushing young viewers to think bigger, to be open to new ideas and question culturally coded notions of good and evil.
  9. All About Nina
    Right out of the gate, the film only sees a kind of blunt irony in this blurring of her public and private selves.
  10. Roma
    Roma is autobiography as autocritique, and in exploring a point of view adjacent to his own, Cuarón appears to have rediscovered his identity as a filmmaker.
  11. Life Itself
    Despite its title, Life Itself doesn’t revel so much in the joys and travails of life as it does in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
  12. The House with a Clock in Its Walls
    The final act of The House with a Clock in Its Walls stumbles between awkward, telegraphed jolts and busy, effects-heavy action, completely losing sight of the trauma and grief that was meant to give the film its emotional core.
  13. Beautiful Boy
    Felix Van Groeningen commendably sustains the story's profound sense of irresolution: abuse-rehab-relapse, abuse-rehab-relapse, abuse-rehab-relapse—an endless cycle of teeth-gritted optimism at best, soul-deadening dashed hopes at worst.
  14. Love, Gilda
    Its success is due to the way it relies on Radner's often elegant words to relay her experience of female stardom.
  15. Garry Winogrand: All Things are Photographable
    Sasha Waters Freyer forges a poignant portrait of an artist attempting to transcend the limitations of his art by refusing to see the process through.
  16. Greta
    Neil Jordan’s deft control of pace and tone elevates Greta past mere gimmickry, resulting in a comic thriller whose goofy humor only compounds its mastery of suspense.
  17. Green Book
    Peter Farrelly manages to respect the severity of the characters’ social context while ensuring that Green Book never steps outside its protagonists’ relationship, a delicate balancing act that credibly makes a feel-good, effervescent comedy out of its thorny subject matter without ever sanitizing it.
  18. Vox Lux
    Vox Lux sets up its main character as a beneficiary of tragedy, opening up a compellingly macabre narrative about how school shootings are becoming so commonplace that they can effectively serve as launchpads for stardom. But that idea goes nowhere, as Vox Lux proceeds to play Celeste's experience in the music industry mostly straight.
  19. The Song of Sway Lake
    Despite Ari Gold’s knack for visual flourishes that capture a sense of place seemingly outside of time, The Song of Sway Lake plays like several disparate melodies overlapping one another.
  20. Fahrenheit 11/9
    Fahrenheit 11/9 represents a sincerely bold attempt to capture the overwhelming civic decay that led to our current political crisis, but Michel Moore’s circus-showman duplicity is as crass and abhorrently self-promoting as that of Donald Trump.
  21. The Children Act
    The Children Act stages the clumsiness of belated domestic confrontations with the very coldness that’s kept its characters from having discussed their emotions for decades and from having had sex for almost a year.
  22. Mid90s
    Jonah Hill constantly falls back on providing vague justification for his characters' behaviors, along with spoonfuls of sentiment to let the more dour moments go down easier.
  23. The Land of Steady Habits
    Nicole Holofcener's The Land of Steady Habits often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria.
  24. Lizzie
    The film moves evenly toward a conclusion that feels as inevitable as it does inescapable, while providing a plausible framework for the still-mysterious true crime.
    • 78 Metascore
    • 75 Critic Score
    The Sisters Brothers
    The Sisters Brothers proffers a sort of Edenic vision, comedic but tinged with sadness, of a latter-day El Dorado that’s worth basking in, if only as a buffer against the inevitability of its fall.
  26. A Simple Favor
    A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller. Which is to say that the film doesn't evince the seamlessness of presentation of its clearest antecedent: David Fincher's "Gone Girl."
  27. Can You Ever Forgive Me?
    Richard E. Grant is captivating on his own, but his rapport with Melissa McCarthy is so effortless that their characters’ conversations offer deeper pleasures than the main plot of the film.
  28. Maya
    The film’s intimacy is as precise as its intellect is vague.
  29. High Life
    The film asks down-and-dirty questions about what really resides beneath thousands of years of human progress, a savage and haunting antidote to the high-minded idealism of movies like Christopher Nolan's Interstellar and Ridley Scott's The Martian.
  30. Mandy
    Panos Cosmatos's film is a profoundly violent and weirdly moving poem of male alienation.
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