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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    • 39 Metascore
    • 50 Critic Score
    Zoe
    Drake Doremus's compositions seem to be motivated by the idea that there’s no more profound image than sunlight reflecting off one-half of a character’s face.
  2. Tully
    In Marlo, Diablo Cody has created her most complicated character to date. Would that her writing displayed similar richness and empathy in painting the film's supporting characters.
  3. The Desert Bride
    As two-handers go, the film has a moderately compelling pair of performances at its center, with Claudio Rissi’s take on a fun-loving road warrior providing an amusing, if obvious, counterpoint to Paulina García’s reserved homebody.
  4. Mrs. Hyde
    Although the film never allows itself to be quite so freewheeling as Bozon’s earlier work, and pales as a result, one of its pleasures is how giddily it suggests its characters finding release from the bureaucratic rigmarole in minor though often inane ways.
  5. The Gospel According to André
    While many documentaries about notable figures feel the unfortunate need to legitimate their subjects with hyperbolic praise from recognizable sources, the film immediately runs the gamut in a manner that would be worthy of a mockumentary were it not completely serious.
  6. Avengers: Infinity War
    Infinity War is all manic monotony. It's passably numbing in the moment. And despite the hard-luck finish—something an obligatory post-credits sequence goes a long way toward neutering—it's instantly forgettable.
  7. Backstabbing for Beginners
    It fills the screen with a series of explicative conversations set in offices, hotels, and cars throughout which people don’t so much talk to each other as indirectly to the audience.
  8. Cargo
    Cargo makes the mistake of benching its menace, banishing the undead to blurred shots on the horizon, while doggedly pursuing its theme.
  9. Nana
    The film flattens Maryla's personal story into hazy generalities about tolerance and the value of remembrance.
  10. In the Last Days of the City
    By diagramming a vastly complicated metropolis like Cairo from an unabashedly first-person perspective, In the Last Days of the City interrogates middle-class privilege in a time of crisis as a series of either-ors: leaving for Europe or staying in Cairo, hiding at home or protesting in the streets, filming blindly or seeking retrenchment in broad certainty.
  11. Duck Butter
    The setup of a 24-hour relationship that bypasses the getting-to-know-you phase speaks to the nature of expedited modern dating culture, but despite its attempts at intimacy, Duck Butter is difficult to fall in love with.
  12. The House of Tomorrow
    The impressionistic tenor of the unabashedly energetic final sequences is so wondrous that you may wish that writer-director Peter Livolsi had utilized it as The House of Tomorrow's guiding principle.
  13. Traffik
    Deon Taylor seems uncomfortable with the escalating relentlessness of a siege film, eventually splitting Traffik off into a variety of other tangents and genres, diluting the potent subtext at the film's center.
  14. I Feel Pretty
    Rather than pointing the finger at society for inducing insecurity in women, I Feel Pretty suggests the onus is on women to change their attitudes.
  15. Pass Over
    Pass Over spins African-American hardship into existential myth, suggesting along the way such plays as Samuel Beckett's Waiting for Godot and Jean-Paul Sartre's No Exit.
  16. Super Troopers 2
    Given the sheer amount of comic material here, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.
  17. The Devil and Father Amorth
    The Devil and Father Amorth is a flimsy stunt, but in his blunt, slapdash way, William Friedkin locates the intersection existing between religion and pop culture—a fusion that insidiously steers political currents.
  18. Ghost Stories
    In setting their play to film, Jeremy Dyson and Andy Nyman decide where we look. Any magician would be jealous of that power. But it puts everything at a remove, trapping you in your own head.
  19. This Is Our Land
    Throughout the film, Lucas Belvaux sidelines the emotional textures that might complicate all his sermonizing.
  20. Little Pink House
    Courtney Moorehead Balaker's film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
  21. Godard Mon Amour
    Michel Hazanavicius co-opts Jean-Luc Godard's personal life for cheap prestige-picture sentiment.
    • 46 Metascore
    • 50 Critic Score
    The Broken Tower
    It’s tonally flat and a little too impressed with its own elliptical construction. Yet there’s something about Franco’s desire to escape the straitjacket of the biopic’s pat psychologizing and greatest-hits structure that makes his film feel at least honest in its missteps.
  23. Rampage
    Unlike 2014’s Godzilla, which benefited from director Gareth Edwards’s patience with the Jaws-style slow burn, RAMPAGE is all noise without crescendo.
  24. Blumhouse's Truth or Dare
    Director Jeff Wadlow's Truth or Dare is a startlingly mean-spirited but otherwise dimwitted horror film.
  25. Disobedience
    In the end, Disobedience is less about the subjugation of the self to the group than the courage to embrace uncertainty if one were to break out of the prison of a world one has been born into.
  26. Jeannette: The Childhood of Joan of Arc
    It's true that the disorientation produced in the collision of Igorrr's frenetic style-mashing and Dumont's unadorned long-take aesthetic ensures that the film feels remarkably distinct from prior cinematic adaptations of Joan of Arc's life, but it's also hard not to wonder how this particular story might have played without the farfetched musical conceit grafted atop it.
  27. Hitler's Hollywood
    Rüdiger Suchsland’s film is a master class in the relationship between image production and ideology writ large.
  28. Marrowbone
    An incessant deluge of subplots drowns what could have been a sparse and beautiful ghost story.
  29. Come Sunday
    In the film, Joshua Marston leaches the narrative of nearly all the social texture that infused and empowered “Heretics,” the 2005 episode of the This American Life podcast that inspired this biopic.
  30. An Ordinary Man
    Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.
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