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. Widows
    For all its flaws, Widows is McQueen’s most fascinating, bracing feature to date, a demonstration of the filmmaker embracing his commercial instincts instead of trying to pass them off as weighty and important.
  2. Peterloo
    Peterloo so simply recounts the details of its subject matter that its culminating horror unsettlingly feels like little more than a cathartic inevitability.
  3. Final Score
    To observe that the Dave Bautista-starring action flick Final Score is yet another Die Hard knockoff may be tiresome, but it's not as if the film gives one much of a choice, as it offers up a ceaseless barrage of scenes lifted from the John McTiernan classic.
    • 91 Metascore
    • 88 Critic Score
    Burning
    With Burning, Lee Chang-dong extraordinarily obliterates the bifurcation between life and representation, the thing in itself and the metaphor.
  5. Non-Fiction
    Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.
  6. White Boy Rick
    By treating its main character as exceptional, Yann Demange's film validates the punitive system it seeks to criticize.
  7. Halloween
    For all of the film’s attempts to get back to the sinisterly sidling Michael of the first Halloween, his stealth movements no longer terrify because his fixations are less unthinkingly instinctual, more compulsively mortal.
  8. Monrovia, Indiana
    As always with Frederick Wiseman, it’s the quotidian gestures that haunt one in Monrovia, Indiana.
  9. Dead Souls
    The anguish expressed and experiences described by the survivors certainly can overlap with each other, and even become repetitive, but it’s ultimately this unification of perspective that gives Dead Souls its authority—and that allows it to become an incisive reappropriation of collectivist solidarity.
  10. A Star Is Born
    Bradley Cooper understands that a message is only as resonant as its messenger, so he surrounds himself with collaborators, old and new, who can sell even the hoariest cliché.
  11. The Predator
    Even an act of noble sacrifice late in the film has a faintly goofy tone to it, reflective of Shane Black's streak of puckish nihilism. That attitude makes him a perfect fit for this franchise, which lost its thematic viciousness after the anti-imperialist original.
  12. Wildlife
    Wildlife is at once loquacious and laconic, a film in which simple words hold unspoken and unequivocal power, and the space between banal utterances become chasms.
  13. Peppermint
    Pierre Morel's first feature film set in the United States is brainless propaganda for the MAGA market.
  14. The Favourite
    The Favourite, notably the first of Yorgos Lanthimos’s films to be written by others, is more narratively coherent and conventional than The Lobster and The Killing of a Sacred Deer, but Deborah Davis and Tony McNamara’s florid screenplay still affords the Greek Weird Wave auteur ample opportunity to assert his idiosyncratic worldview.
  15. Blaze
    With Blaze, a fractured story of country music singer-songwriter Blaze Foley, director Ethan Hawke admirably battles the clichés of the musical biopic.
  16. The Nun
    The Nun is the cinematic equivalent of a Conjuring-inspired maze at Halloween Horror Nights at Universal Studios.
  17. Hotel by the River
    A story of a poet, Hotel by the River comes to resemble a poetry collection itself, abounding in emotional currents and grace notes that are bracingly allowed to hang, free of reductive explication.
  18. Colette
    It's the film's concerted emphasis on Colette's ambivalent nature and desires that reveals her to be an artist just ahead of her time, fighting against, yet seduced by, her present.
  19. Bisbee '17
    The film's epic canvas invigorates Robert Greene, who fuses a procedural documentary, in the key of Frederick Wiseman’s films, with tableaux that wouldn’t be out of place in a horror western.
  20. Five Fingers For Marseilles
    What happens in this neo-western isn't dictated by the tried and true themes of classic westerns but by the films themselves.
  21. Kusama - Infinity
    Despite the exuberance of the works featured, which are promptly flattened by the film's commitment to a traditional documentary blueprint, Yayoi Kusama's resilience still commands our attention.
  22. Climax
    Gaspar Noé's camera captures every freak-out, recrimination, stolen kiss, and betrayal in what is a miracle of synchronicity.
  23. Sorry Angel
    Much more interesting than Jacques and Arthur's relationship is Christophe Honoré's subtle portrait of the early '90s as a time of accelerated mortality and mourning, but also of material encounters of all kinds.
  24. I Am Not a Witch
    It finds that rare nexus of the comic and the tragic, underlining the absurdity of a terrible situation without demeaning those who have been harmed by it.
  25. Asako I & II
    Like Happy Hour, Asako I & II is a parable of the grace — and, yes, happiness — that spring from resignation.
  26. First Man
    Damien Chazelle is clearly in awe of the collective efforts it took to propel Neil Armstrong to the moon, but he remains ambivalent about whether it was all ultimately worth such immense sacrifice.
    • 72 Metascore
    • 63 Critic Score
    Hal
    Just before the documentary slips into hero worship, Amy Scott pries beneath the calm surface of her bearded and bespectacled subject to reveal the silent rage that fueled his work.
  28. Ray & Liz
    Ray & Liz generates pathos through its detailed attention to its characters' attempts to find permanence and meaning in a fundamentally unstable reality.
  29. Shoplifters
    In Shoplifters, Kore-eda dramatizes the insidious and relativistic ordinariness of poverty.
  30. The Little Stranger
    Perhaps the film's failure to surprise in the end is a result of leaning too heavily on a toolbox not yet translated into the language of cinematic form.
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