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. Early Man
    The clash between prehistoric pastoralism and technological progress at the center of the film is laden with potential for biting comedy, but Nick Park flattens the conflict into a series of slobs-versus-snobs clichés.
  2. Double Lover
    Though Double Lover has a slight oneiric quality from the start, it grows increasingly delirious, the plot threads knotting in convoluted patterns and the overall mood more and more ridiculous.
  3. The Boy Downstairs
    Endeavoring to give us a post-mumblecore spin on Annie Hall, writer-director Sophie Brooks seemingly fails to understand what made Woody Allen's film so appealing: its rich, multi-faceted characterizations.
  4. Nostalgia
    Mark Pellington's Nostalgia is less a living, breathing film than a presentation of sentiments revolving around a pat question: Are the objects of our lives merely detritus, or are they vital to our identities?
  5. The 15:17 to Paris
    One misses the prismatic structure of the 15:17 to Paris book, which fuses multiple points of view and which is reduced by Dorothy Blyskal's script to cut-and-pasted bromides.
  6. Fifty Shades Freed
    James Foley’s film suggests that any semblance of capitulation on Christian’s part is a win for Ana and women at large, even if that momentary triumph leads to a further sacrifice of Ana’s independence.
  7. Black Panther
    Michel B. Jordan plays Erik Killmonger with such moving, occasionally gut-wrenching commitment that it nearly mitigates the goofiness of his moniker and the superficiality of the film in toto.
  8. Permission
    Brian Crano is as skittish as his protagonists are about the particular contours of their dilemma. To put it bluntly, Permission is a sex film without the sex.
  9. Entanglement
    Ben doesn't deserve our sympathy, in part for how noxiously the film has imagined the female characters who surround him.
  10. Peter Rabbit
    Peter Rabbit plays like a country cousin to Paul King's Paddington films, similarly balancing slapstick, absurdism, and a touch of gross-out humor, though without King's transcendently oddball sensibility.
  11. The Ritual
    Eventually, the filmmakers reveal the secrets they'd previously withheld, spoiling the film's sustained mystique.
  12. Golden Exits
    Alex Ross Perry's characters are shrewd enough to recognize the irrational contours of their lives, which they diagnose and chew over in some of the most inventive, twisty, and richly ironic dialogue in modern American cinema.
  13. The Female Brain
    The Female Brain never seems quite sure whether it wants to probe the depths of its title subject or just make us laugh. And given the shallowness of its quasi-scientific blather and the tepidness of its comedy, it ultimately does neither.
  14. Basmati Blues
    Danny Baron's film awkwardly melds Bollywood romcom tropes with a half-hearted critique of the GMO industry.
  15. 24 Frames
    Movement and progress are the organizing principles throughout Abbas Kiarostami's final, posthumously released film.
  16. Bilal: A New Breed of Hero
    The animation feels like the result of the cold calculus of an algorithm rather than a human director with a personal vision.
  17. In the Intense Now
    Although João Moreira Salles tries to tap into the pleasurable elements inherent to the essayistic as a cinematic form, such as making the merging of intimate and social reality poetically visible, his storylines never quite gel.
  18. On Body and Soul
    On Body and Soul's fusion of romance, comedy, ultraviolence, and political commentary has the logic of a lucid dream.
  19. Legend of the Mountain (1979)
    Every pan and snap zoom and dissolve is exact, every whorl of smoke and wind-thrown swath of leaves pulled from a dream and placed methodically before our eyes.
  20. A Fantastic Woman
    Superficial when it means to be elliptical and regressive in its attempts to promote pride and tolerance, Sebastián Lelio’s film is beautiful but vacant, the type of melodrama that reminds us that they shouldn’t always make them like they used to.
  21. The Cage Fighter
    The Cage Fighter isn't sentimental about the notion of an aging sports hero who needs one more day in the proverbial sun, recognizing that desire as macho folly.
  22. Braven
    Lin Oeding’s action thriller thrives on both the beauty of its natural, snowbound surroundings and the brutal instincts of man.
  23. The Last Family
    The film tends to literalize its theme of unfulfilled desire by having characters explicitly lament their lost pasts.
  24. A Ciambra
    First the film inhabits the eye of a storm—which is to say, the storm of Italy’s wretched peripheries—before submitting to the more ersatz cinematic will of filling Pio’s life with beginnings, middles, and ends.
  25. West of the Jordan River
    Amos Gitai regularly takes incidents and anecdotes out of context, making it difficult for viewers who lack intimate knowledge of the Palestinian-Israeli conflict to follow the proceedings.
  26. Have a Nice Day
    The film's pale-hued, Flash-like animation is abundant in detailed backgrounds that make the characters stand out like placards, allowing for Jian's critique of modern China to land with maximum force.
  27. The Competition
    The will-they-won't-they of the film is a non-starter, and as such the film's climax is stripped of suspense and even the most basic of dramatic payoffs.
  28. Please Stand By
    Dakota Fanning's Wendy is less a truly thought-through character than a compendium of quirks.
  29. The Clapper
    Though it pretends to stick up for all the schmucks in the world, the film is really just laughing along with the assholes.
  30. Like Me
    Like Me is exhilarating because of Robert Mockler’s willingness to deviate from his satire so as to surprise himself with seemingly spontaneous emotional textures and tangents.
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