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. Sylvio
    Sylvio's banal depictions of everyday loneliness through the diurnal tedium of an anthropomorphic animal brings to mind BoJack Horseman, but without the caustic navel-gazing and self-destruction or the mordant pop-culture musings.
  2. M.F.A.
    Natalia Leite's ambition and accompanying uncertainty give the film its unruly and resonant energy.
  3. Breathe
    The film is an easily digestible replica of the truth, bathed in honeyed cinematography and sentimentalized adulation.
  4. The Departure
    The Departure presents patterns in suicidal people while according them humanity, which isn’t a small accomplishment.
  5. Lady Bird
    A uniquely American comedy, Greta Gerwig's Lady Bird is testy, humane, and firmly rooted in its time and place.
  6. Wonderstruck
    Todd Haynes's Wonderstruck is a coming-of-age tale as curiosity cabinet, a flowchart of narrative fragments that steadily build to a high-concept finale as ludicrous as it is emotionally audacious.
  7. Blade Runner 2049
    Denis Villeneuve’s film is designed to reward the audience for recognizing references in the midst of an action pursuit, and, after an hour or so of the clipped and earnest signifying, one may find themselves nostalgic for Ridley Scott’s unforced indifference to the issue.
  8. My Little Pony: The Movie
    Visually plain and ploddingly paced, My Little Pony: The Movie suggests four episodes of My Little Pony: Friendship Is Magic smushed together with a Sia music video tacked on at the end.
  9. The Mountain Between Us
    Hany Abu-Assad’s film is notable for the way it fixates on its characters’ rush toward survival, homing in on the intimacy that they achieve without ever suggesting that there’s any actual romance in their future.
  10. Dina
    We come to understand the camera’s distance from its subjects as an act of respect that allows the complex, funny, and indomitable personalities to shine through.
  11. Paradise
    Andrei Konchalovsky's film is more than an exercise, as pitiless moments accumulate with enraged relentlessness.
  12. Walking Out
    Walking Out is modest in scope, its concerns limited to man’s attempts to live both morally and harmoniously with nature.
  13. Call Me by Your Name
    Call Me by Your Name is a fairly straightforward coming-of-age story that's at its finest in moments when the relationships take on larger meanings than their literal context implies, and Luca Guadagnino finds evocative aesthetic expressions for them.
  14. Brawl in Cell Block 99
    Brawl in Cell Block 99 rarely drags, even when delivering exposition, and the economy of the storytelling is as efficiently brutal as the eventual skull-crackings.
  15. Una
    The film gives Una a little more agency, but director Benedict Andrews often invalidates such empowerment.
  16. Chavela
    The film's hopscotching-in-time structure, informed by specific remembrances of Chavela Vargas's life, is refreshingly unconventional.
  17. Assholes
    It begins as a clever pseudo-mumblecore provocation with shades of Bruce LaBruce only to quickly turn into indefensible nonsense.
  18. Darkest Hour
    The film reinforces only the most simplistic and patriotic vision of Churchill, its closed-off view of the man reminiscent of the many tracking shots that wind through the underground tunnels of the U.K.‘s war command, constantly peeking into rooms with classified meetings as doors are abruptly closed to keep them secret
  19. The Meyerowitz Stories (New and Selected)
    Noah Baumbach has made a cunning and frequently hilarious film about exhuming the past and finding no diamond in the rough.
  20. Goodbye Christopher Robin
    A sweet ode to childhood innocence turning sour upon its introduction to the public is an intriguing notion, but Simon Curtis incomprehensibly crams the events of Christopher’s early childhood stardom, his difficulty coping with the ubiquity of his namesake’s legacy, and his ultimate defiance of his father into less than one-third of the film.
  21. The Square
    While Ruben Östlund’s mastery of visually amplifying social unease is still very much intact, he’s partially undone here by his own thematic ambition, which, in scene after exquisitely staged scene, threatens to put too fine a point on otherwise thrillingly indeterminate situational comedy.
  22. Last Flag Flying
    Last Flag Flying is colored by how time reshapes our sense of self, embracing some memories while occluding others, and the film ingeniously folds the viewer into a similar state of reflection and uncertainty about previous eras of false optimism about national values.
  23. American Made
    Doug Liman may effectively maintain a madcap energy through to the end, but unlike Adam McKay or Martin Scorsese, he isn't all that interested in explicating the complex inner workings of vast criminal enterprises.
  24. Mark Felt: The Man Who Brought Down the White House
    Mark Felt is a kind of hagiography, and it leans toward whitewashing its subject's legacy, which extends even to the man's illegal break-ins and wire-tapping of the leftist activist group the Weather Underground.
  25. Gerald's Game
    Mike Flanagan is an un-ironic humanist, which is rare in the horror genre. And this admirable quality trips the filmmaker up in the second half of Gerald's Game, which pivots on Jessie learning to stand up to diseased masculinity.
  26. Bugs
    It begins as a gleeful deadpan comedy and ends up as an exasperated cri de cœur against our current system of industrialized food production and distribution.
  27. Super Dark Times
    The transformation of a teen into a serial killer isn't credible compared to the portrait of idle suburban adolescence.
  28. Lucky
    John Carroll Lynch's Lucky is an impeccably acted yet sentimental film that’s bashful about said sentimentality.
  29. Thelma
    Thelma's transition into a paranormal thriller doesn’t complicate its initially potent character study.
  30. Loving Vincent
    Dorota Kobiela and Hugh Welchman's film is driven by an off-putting and oxymoronic fusion of reverence and egotism.
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