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. Krystal
    The gravity of Krystal's situation is undermined at every turn by the filmmakers' excessively broad, comedic strokes.
  2. Borg vs. McEnroe
    Even the depiction of how both men waver during the Wimbledon final — of Borg losing his cool while McEnroe avoids succumbing to petulance — fails to tie into the larger portrait of their rivalry.
  3. Submergence
    Submergence's globetrotting only succeeds at exposing the hollowness of the characters at the film's center.
  4. Grace Jones: Bloodlight and Bami
    The effect of Sophie Fiennes's unmoored approach to her subject is to take us out of normal time and put us on Grace Jones time.
  5. Aardvark
    The film adopts a half-hearted variation on A Beautiful Mind's gimmicky approach to grappling with a man's mental illness.
  6. Good Luck
    Good Luck's political implications—most prominently that the almighty dollar is humanity's enduring slave master—are expertly woven into the hallucinatory aural-visual fabric of the film.
  7. Mary Shelley
    In its final act, the film abandons its fruitful investigation of belief systems in favor of a simplistic articulation of Mary's inspiration.
  8. Where Is Kyra?
    Terror gradually leaks into the narrative, transforming Where Is Kyra? into a haunting non-traditional thriller.
    • 67 Metascore
    • 75 Critic Score
    Chappaquiddick
    John Curran creates room for his characters to think and feel and an environment that encourages us to do the same.
  10. You Were Never Really Here
    Lynne Ramsay's You Were Never Really Here could be considered artsy exploitation, a film whose formal dexterity belies its debts to its chosen, and quite squalid, genre.
  11. Samson and Delilah
    By examining the relationship between Samson and Delilah through the wrong end of the telescope, Thorton soaks in the arid, unaccommodating surroundings with occasionally oxymoronic lucidity.
  12. A Quiet Place
    The pleasure of A Quiet Place is in John Krasinski's commitment to imagining the resourceful ways in which a family might survive in this kind of world, then bearing witness to the filmmaker's skillfully constructed methods of putting them to the ultimate test, relentlessly breaking down all of the walls the family has erected to keep the monsters out.
  13. Spinning Man
    The film is ultimately tethered to the strictures of a procedural thriller, as it's rife with functional dialogue and plotting as well as forgettable aesthetics, which cumulatively reduce the existential calisthenics to filler.
  14. Sweet Country
    The film is a meticulous examination of how the dehumanization of Australia's native population bred an environment of cyclical violence and mistrust.
  15. Blockers
    Viswanathan, Newton, and Adlon generate a bit of chemistry throughout, but it's undermined by the fundamentally mechanistic nature of Brian and Jim Kehoe's screenplay, which ultimately forces these girls' experiences into neat little scenarios that are constructed every bit as didactically as a workplace training video.
  16. Big Fish & Begonia
    In the sly exchanges between the teenage protagonists and their elders, the film reflects a nation's shifting tides.
  17. Lean on Pete
    As sharply as it delineates an America of spotty, informal economies, the film avoids articulating most of the people who live and work in these spaces.
  18. The Endless
    Justin Benson and Aaron Moorhead veer away from the deeper, even meta-cinematic, implications of their plotting.
  19. Personal Problems (1980)
    Bill Gunn and Ishmael Reed collapse conventional notions of reality, providing simultaneous glimpses into the minds of dozens of characters, lingering on scenes and informing them with confessional intensity.
  20. Love After Love
    In every scene, the film's cutting is dictated by the turbulent pace of the characters' inner lives.
  21. Ava
    The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.
  22. Ava
    The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.
  23. Ready Player One
    It's a boldly attempted strike against the monolithic corporatization of fan service, and arguably one of the few films that defines dystopia as nothing less than a marketplace of trademarked, cross-promotional intellectual property. In other words, our here and now.
  24. Cocote
    Nelson Carlo de Los Santos's first fiction feature is a dazzling collage of styles and approaches in which every scene feels different from the one that came before.
  25. Gemini
    With Gemini, Aaron Katz does his cover of the Los Angeles-set murder mystery, homing in on the genre's evocative loneliness.
  26. First Match
    After a certain point, Olivia Newman's film treats the womanhood of its main character as an afterthought.
  27. All I Wish
    Writer-director Susan Walter's film seems almost determined to disprove the causality of social phenomena.
  28. Milla
    Valérie Massadian's Milla begins with a stylistic bait-and-switch that neatly summarizes the film's overall sense of formal balance.
  29. The Last Movie Star
    The film is a collection of old-fogey clichés, with a narrative that mixes a career retrospective with a road trip.
  30. Outside In
    Lynn Shelton's film firmly resists supplying its main characters with easy, you-can-have-it-all answers.
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