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. Happy End
    Happy End reveals itself as something vacuous and cold, a bizarrely seductive pseudo-thriller lacking a thoroughly worked-out payoff.
  2. Bright
    A welter of dissonant intentions, the film fails to seamlessly intertwine its elements of realism and fantasy.
  3. Film Stars Don't Die in Liverpool
    The film shows no interest in the inner workings of a relationship that’s defined by unusual circumstances.
  4. The Greatest Showman
    The Greatest Showman‘s spectacle is overshadowed by its archaic and misguided notions of American exceptionalism.
  5. Pitch Perfect 3
    Women deserve a better vehicle for demonstrating the power of female solidarity than this empty money grab.
  6. In the Fade
    In the Fade is executed with precision, particularly the third act, in which the film morphs into a tense yet unconvincing revenge thriller.
  7. Hostiles
    Scott Cooper's film moves at a funereal pace, implicitly celebrating its sluggishness as a mark of integrity.
  8. The Ballad of Lefty Brown
    For what it's worth, Jared Moshe seems genuinely interested in the role of unflagging decency in a sullied world.
  9. Crooked House
    Gilles Paquet-Brenner's film is ultimately a genre item that operates on alternately prestigious and campy autopilot.
  10. Ferdinand
    Any potential subtext of Munro Leaf's children's book has been bleached out in the marketplace-oriented Ferdinand.
  11. Star Wars: Episode VIII - The Last Jedi
    The latest entrant in this now-Disney-owned franchise is largely content to further the themes and narrative strategies of J.J. Abrams's predecessor.
  12. Miss Kiet's Children
    Childhood in Peter Lataster and Petra Lataster-Czisch's documentary is the terrain of contradiction and ambiguity.
  13. Jumanji: Welcome to the Jungle
    The film is unable to reconcile a desire to ridicule its own artifice with constant attempts to foster genuine empathy and dramatic tension.
  14. Birdboy: The Forgotten Children
    Alberto Vázquez and Pedro Rivero's film is a phantasmagoria of impressionistic horror, at once despairing, beautiful, haunting, and surreal.
  15. The Pirates of Somalia
    Writer-director Bryan Buckley's film is ultimately more interested in the journalist than his story.
  16. Phantom Thread
    Phantom Thread arrives at a place of qualified peace that cauterizes the emotional wounds of Paul Thomas Anderson's cinema.
  17. The Post
    No American film since Zodiac has exhibited such a love for the way information travels than The Post, but it's nonetheless steeped in self-congratulation.
  18. November Criminals
    The film advances that old Hollywood trope: Blacks can't get justice unless whites are willing to get it for them.
  19. I, Tonya
    The film’s habit of courting and then insulting the viewer is a conscious nod to the cycles of abuse that mark Tonya Harding’s story, but the filmmakers’ attempts to implicate their audience are I, Tonya's broken shoelace, too pat and glib to be convincing.
  20. My Happy Family
    It casually lays out the domestic space where the story’s events takes place with acutely detailed cultural specificity.
  21. The Shape of Water
    The Shape of Water has been made with a level of craftsmanship that should be the envy of most filmmakers, but the impudent, unruly streak that so often gives Guillermo del Toro’s films their pulse has been airbrushed away.
  22. 24 Hours to Live
    Brian Smrz never contrasts the film’s violence with stillness, allowing the audience to enjoy a sense of foreboding escalation.
  23. Shadowman
    This is a gruesome art-world fairy tale unafraid to face the bitter details of its hero's tumultuous life.
  24. Voyeur
    It's hard to come away from the film feeling anything but disdain and a twinge of embarrassment toward Gay Talese.
  25. The Dancer
    Like Loïe Fuller's serpentine dance, the film is structured on repetition: spinning and spinning but never actually taking us nowhere.
  26. Naples '44
    It’s far too scattershot, bouncing from one topic to the next with the carelessness of someone flipping through a book and reading from a random page.
  27. The Tribes of Palos Verdes
    The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.
  28. The Man Who Invented Christmas
    Since “humbug” is already spoken for by Ebenezer Scrooge, “opportunistic” would be the most apt word for The Man Who Invented Christmas.
  29. Antiporno
    Sion Sono, allergic to subtlety, is terrified that we won't notice his detonation of Nikkatsu's sexploitation traditions.
  30. Bombshell: The Hedy Lamarr Story
    The film curiously steers toward surmising Hedy Lamarr's psychological state as it pertained to love and pleasure.
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