Slant Magazine's Scores

For 6,139 reviews, this publication has graded:
  • 34% higher than the average critic
  • 3% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 The Shop Around the Corner
Lowest review score: 0 The Oranges
Score distribution:
6139 movie reviews
  1. Old
    In the moments when Old works, it’s because M. Night Shyamalan embraces the inherent weirdness of his material.
  2. Across the film, director Augustine Frizzell balances a dynamic aesthetic energy with a generosity of spirit.
  3. Randall Emmett’s directorial debut is virtually indistinguishable from the scores of cheap VOD action thrillers that he’s produced to date.
  4. Settlers allows for weighty themes to play out inside a cramped domestic setting, wary of easy answers or moral platitudes.
  5. Merciless but affecting, Vortex suggests that one respite from the loneliness of life lived in the shadow of death is the realm of dreams.
  6. The idle one-thing-after-another-ness of Mandibles is evocative, disturbing, and moving.
  7. Not even Alvin Ailey’s peers can articulate the innovations and soulfulness of his choreography half as well as his work itself.
  8. Arie and Chuko Esiri’s film is understated in its attunement to the challenges of trying to escape a stagnant existence.
  9. Throughout the film, Agnieszka Holland makes clear that she isn’t interested in easily digestible pop-psychology nuggets.
  10. The tired, tasteless gimmick at the center of the film inadvertently reveals its entire problem of perspective.
  11. Again in a Apichatpong Weerasethakul film, we find spirits lurking behind the everyday world, but in Memoria, they might just be repressed memories emanating from a world that never actually forgets.
  12. The film’s evocative imagery doesn’t compensate for the story being told with such a heavy hand that it dulls, rather than sharpens, Justin Chon’s urgent political message.
  13. The film may be the prime example of how to restore fun, significance, and even a little bit of sex to the well-worn terrain of the romantic comedy.
  14. Sean Baker is dedicated at the same time to the material realities of being poor in the United States and to the irreverent artificiality of snap zooms, smash cuts, and unexpected music cues.
  15. Titane wildly expands on Julia Ducournau’s idiosyncratic interest in the collision of flesh-rending violence and familial reconfiguration.
  16. As soon as LeBron and Dom are sucked into computer space, A New Legacy largely abandons its underlying criticism of soulless corporate regurgitation of art-as-product and instead becomes an exhausting tour through the Warner Bros. catalog.
  17. The film is a demonstrative examination of the way our raising of heroes onto social media pedestals diminishes the messy, sometimes impenetrable truth of human lives.
  18. The fundamental ineptness of Gunpowder Milkshake appears to be a consequence of the exponentially swelling glut of streaming options.
  19. Wes Anderson’s film is an often fascinating, wondrous exercise in complex narration and visual composition.
  20. Mama Weed is intended to wash over you, leaving good vibes in its wake, but it doesn’t challenge Isabelle Huppert or the audience.
  21. Vincent Le Port’s grim morality tale depicts a society caught between differing norms of discipline, punishment, and sex.
  22. Pig
    Nicolas Cage, in full martyr mode here, seems to get off on the perversity of, well, caging his brand of operatic hysteria.
  23. The film never sacrifices its ambiguity as it brings various threads about ghosts, relationships, art, and gender to a head.
  24. Flag Day is little more than a near-two-hour montage of tear-streaked faces shouting blandly melodramatic lines at each other.
  25. At its most accomplished, the film unfolds with a voluptuous slowness and a sense that narrative endpoints are irrelevant.
  26. Kogonada’s film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lenses of the ruling class.
  27. Writer-director Samuel Theis’s film is a noteworthy repurposing of the coming-of-age social drama.
  28. With Ahed’s Knee, Nadav Lapid plays a game with alter egos that’s at once canny and frustrating.
  29. Todd Haynes’s documentary excitingly captures an era’s explosion of creativity, one that bespoke new and challenging kinds of freedom.
  30. Joanna Hogg’s film is a work of understated warmth, profound emotional complexity, and eminently British dry humor.

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