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. Infinite Football
    Corneliu Porumboiu resists spelling anything out but the bare essentials, instead continuing his project of inviting viewers to closely parse the acerbic day-to-day banalities of post-Ceausescu Romania.
  2. Souvenir
    Huppert is such a master of her craft that even the silliest sequences give way to tour-de-force moments.
  3. Hondros
    Chris Hondros sought to reconcile peerless beauty with unfathomable atrocity, and Greg Campbell’s film follows suit.
  4. Oh Lucy!
    Atsuko Hirayanagi's feature-length directorial debut offers a surprising take on the tricky art of communication.
  5. Mohawk
    Ted Geoghegan's Mohawk is a survival-of-the-fittest film that's charged with a thunderous urgency.
  6. Love, Simon
    Greg Berlanti's charmingly heartfelt film is a remarkably successful attempt to give shape to the experience of the closet by drawing an incredibly intimate portrait of a teenage boy about to leave it behind.
  7. Did You Wonder Who Fired the Gun?
    In directly requesting the audience's trust, Travis Wilkerson initiates a not-particularly-inviting proposition for the viewer, and specifically the white American viewer.
  8. Submission
    This tentative questioning of the sometimes unscrupulous methods and deleterious consequences of political correctness is further undermined by Ted's insipid character and general indifference to his fate.
  9. Werewolf
    The film achieves a strange irony, as its formal abstractions serve to heighten our emotional connection to the characters.
  10. The Vanishing Of Sidney Hall
    The seesaw of effect of oscillating between extolling Sidney’s genius and lingering on his anguish begins to feel like a child slowly burning an ant with a magnifying glass, occasionally taking breaks to truly savor the harm he or she is committing.
  11. Foxtrot
    Icy absurdism and sorrowful ironies abound throughout Samuel Maoz's Foxtrot, whose laughs stick in your throat like the silent screams of its Job-like protagonist.
  12. 7 Days in Entebbe
    The conflation of historical complexities makes for cheap pathos throughout, complete with weeping mothers and the seemingly endless dredging up of the terrorists' obvious moral equivalence.
  13. Every Day
    Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them.
  14. Mute
    Mute is so slow and arbitrarily over-plotted that it's difficult to believe that Jones also directed the spry and enjoyable Moon and Source Code.
  15. Every Day
    Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them, probably because addressing them could too quickly shut down the romance.
  16. Game Night
    The film establishes coherent characters and drops them into a twisty mystery plot that’s tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.
  17. Annihilation
    Annihilation gets momentum from the deeper it pushes into the uncertainties of ecology and the self.
  18. Half Magic
    The film displays a sprightly tone and blissful sense of liberation in charting the exploits of characters seeking to live by their own feminine-centric rules.
  19. Unsane
    Even Unsane's most ridiculous moments coast on the sheer energy of Steven Soderbergh's aesthetic gamesmanship.
  20. November
    Rainer Sarnet is as invested in telling a convoluted story that feels rooted in millennia-old folklore as he is in unabashedly experimenting with form and style for the sake of visual pleasure alone.
  21. Don't Worry, He Won't Get Far on Foot
    The film is disarming for its sincerity, unalloyed in its positive thinking but unafraid of showing the gruesome details of alcoholism and denial to back up its bromides.
  22. El Mar La Mar
    The film's approach to exploring the Sonoran Desert and topic of immigration often veers toward the avant-garde.
  23. Beast of Burden
    The film’s flashbacks, which are either too clipped or excessively scored, effectively step on the actors’ toes.
  24. The Young Karl Marx
    The film is ironically gripped by the sort of ideological "vagueness" that Krk Marx dismisses throughout.
  25. Isle of Dogs
    Anderson is clearly a massive talent working, again, in his prime. However uncomfortable, it's crucial to ask what gives him the right to romp around in all these signifiers in service of bespoke whimsy—but then the word for it isn't “right,” but rather privilege.
  26. Red Sparrow
    The way that Dominika is at once completely transparent and at the same time impossible to read is Red Sparrow's most intriguing through line, not least of which for the way that Jennifer Lawrence makes you grasp the canny mental gymnastics that her character has to do in order for everything that she says to be at once truth and obfuscation.
  27. Loveless
    One feels in the film's punishing bleakness a yearning for transcendence.
  28. Tehran Taboo
    The film is full of astute, and poetically staged, critiques of the parallel worlds resulting from Iran's police state.
  29. The Party
    It captures the qualities of live theater that are rarely transmitted to film, of being immediate, alive, and spontaneous, as if the viewer is just a stone's throw away from the characters.
  30. Looking Glass
    There's no follow-through or follow-up on how the main character's voyeurism informs his burgeoning sexual perversions.
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