Slant Magazine's Scores

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For 5,706 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 7.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Golden Exits
Lowest review score: 0 One Fall
Score distribution:
  1. Positive: 2,989 out of 5706
  2. Mixed: 1,119 out of 5706
  3. Negative: 1,598 out of 5706
5706 movie reviews
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  1. A Thousand Cuts
    The film uses endangered press freedom in the Philippines to illustrate the threat posed to liberal democracy by weaponized social media.
  2. Sunless Shadows
    Redolent of Claude Lanzmann’s approach, Mehrdad Oskouei strips his images to their barest bones as his subjects openly speak about their traumas, as if trying to avoid aestheticizing their pain.
  3. The Secret Garden
    In lieu of pluming the emotional states of the characters, the film resorts to a whimsical, otherworldly fantasy element as an easy resolution.
  4. Song Without a Name
    The film is strikingly fixated on exploring loss and pain on an intimate and personal scale.
    • 56 Metascore
    • 75 Critic Score
    Psychomagic, A Healing Art
    Whether or not the 91-year-old Alejandro Jodorowsky makes another film, Psychomagic could easily stand as a fitting encapsulation of the themes of suffering and transcendence that have run throughout his work.
    • 84 Metascore
    • 75 Critic Score
    Black Is King
    Out of a dazzling fusion of the hottest trends of American R&B and Afrobeat, this visual album proposes a pan-African vision of legacy, abundance, and unity, making it Beyoncé’s most wide-reaching and ambitious effort yet.
  7. I Used to Go Here
    The film is almost sadistically driven to turn a woman’s trip down memory lane into fodder for cringe humor.
  8. Waiting for the Barbarians
    Ciro Guerra never quite finds an imagistic equivalent to the novel’s apocalyptic mood and subtly hallucinogenic atmosphere.
  9. She Dies Tomorrow
    Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness.
  10. Summerland
    Throughout, the film’s characters exhibit little life outside of their moments of tragedy and symbolic connections.
  11. The Fight
    The film justly draws attention to the perpetual work that must go into preserving democratic institutions.
  12. A Girl Missing
    Kôji Fukada adores stray textures that stick in the proverbial throat and free-associatively affirm his characters’ rootlessness.
  13. Radioactive
    Marjane Satrapi’s film could have benefited from the tangy humor and cynicism of her graphic novels.
  14. Amulet
    The film never feels as satisfying or as haunting as its bow-tying epilogue strives for.
  15. Fisherman's Friends
    The script doesn’t contain many lines that ring true, and a few clang wildly off-key.
  16. The Rental
    Dave Franco has a mighty command of silence as a measurement of emotional aftershock.
  17. The Painted Bird
    Václav Marhoul’s film is at its most magnificent when it lingers on the poetry of its images.
  18. Blessed Child
    Filmmaker Cara Jones offers a poignant testament to the baggage and insecurities hounding her own life.
  19. Ghosts of War
    The film’s unreflective earnestness is haunting in all the wrong ways.
  20. Bloody Nose, Empty Pockets
    It’s in certain characters’ trajectories that the Ross brothers locate the tragic soul of the bar.
  21. Relic
    The film heralds the arrival a bold and formidable voice in horror cinema.
  22. Greyhound
    With no vividly drawn humans on display, the action feels like rootless war play.
  23. The Beach House
    The character drama becomes afterthought as it’s superseded by action.
  24. The Old Guard
    Though it smartly prioritizes the bond of relationships over action, the film is in the end only somewhat convincing on both counts.
  25. We Are Little Zombies
    The film is a kaleidoscopic portrait of a world where emotions are accessed and revealed primarily through digital intermediaries.
  26. The Wages of Fear (1953)
    Henri-Georges Clouzot’s The Wages of Fear now seems much less like Salt of the Earth-as-a-potboiler and a lot more like the spiritual godfather to every testosterone-fueled thrill ride since.
  27. Palm Springs
    The film smuggles some surprisingly bleak existential questioning inside a brightly comedic vehicle.
    • 90 Metascore
    • 88 Critic Score
    Hamilton
    The show offers testimony to the power of communal storytelling, just as mighty on screen as on stage.
  29. Family Romance, LLC
    We are never quite sure of the extent to which situations and dialogues have been scripted and, as such, it’s as though Herzog were more witness than author, more passerby than gawker, simply registering Japan being Japan.
  30. Force of Nature
    The film presents its scattershot cop-movie tropes in earnest, as if, like hurricanes, they were natural, unavoidable phenomena.
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