Slant Magazine's Scores

For 4,930 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 8.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Vertigo
Lowest review score: 0 Brother's Justice
Score distribution:
4930 movie reviews
  1. Writer-director Joe Chappelle’s An Acceptable Loss is a B movie with a morally urgent message.
  2. Ana Brun’s performance as Chela anchors our attention where Marcelo Martinessi’s understated visuals might otherwise lose it.
  3. Chris Smith’s documentary about the 2017 Fyre Festival implosion resists the urge to revel in cheap social media schadenfreude.
  4. The film uses the grieving process to lend the proceedings a sense of unearned emotional gravitas.
  5. Manolo Caro's film uses its characters as rigid markers of cowardice, lust, and entitlement.
  6. The climax’s bizarre left turns culminate in a final image so bewildering that were the film not so relentlessly dour it might have clarified Replicas as an absurdist comedy.
  7. The film becomes overrun by an increasingly preachy and tiresome series of life lessons about race, class, and love.
  8. Touch Me Not‘s commingling of narrator and narrative, character and actor, fiction and documentary suggests that cinema itself is capable of being a manner of touch, the site of a nebulous and freeing encounter between people.
  9. The words of Henry James have never sounded as leaden and preposterous as they do in Julien Landais’s The Aspern Papers.
  10. The Venerable W. is at times downright dowdy, but there’s an ever-present sense of rage and despair burbling beneath its placid surface.
  11. The Vanishing seems truly troubled by its action violence in a way that many similar thrillers aren’t.
  12. A blatantly telegraphed mid-film twist helps turn Second Act into one of the strangest and most misguided rom-coms of any year.
  13. The whole endeavor feels like a disservice to Mark Hogancamp’s story, in no small part because no one in the film feels human, even outside doll form.
  14. Bumblebee exudes some of the tediousness of a reformed sinner who decries hedonism, trying hard to convince us that it now believes in something.
  15. Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
  16. The filmmakers treat their material sternly and humorlessly, as if there's some great moral lesson to be imparted from Erin's inexhaustible blotto jerkiness.
  17. Many sections of Bird Box don’t hold up to a second’s scrutiny; the conceit’s silliness and convenient scare tactics make Shyamalan’s take on infectious-suicide horror seem downright subtle by comparison.
  18. The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
  19. After a while, it all starts to feel like a showreel for the film’s special-effects team than an honest effort to tell a story.
  20. For all of its slavish devotion to Mary Poppins, the sequel doesn't even seem to recognize its greatest attribute: its star.
  21. Often divertingly colorful and busy to a fault, the film seems to dare us to mock the world of comics' most risible superhero.
  22. When the devastating quake finally strikes, it creates a truly suspenseful scenario of vertiginous falls and last-minute saves.
  23. Kaku Arakawa's documentary is a candid snapshot of a great artist as an old man.
  24. As effective as director Josie Rourke is at exposing the emotional and physical toll of reigning as queen when exploring Mary and Elizabeth's relationship, her portrait of an endless string of betrayals ends up as simply faceless and impersonal.
  25. As it proceeds through a series of teary reconciliations in the last half-hour of its 110-minute run time, the film's didactic drama begins to grate, its treacly emotions feeling increasingly unearned.
  26. Bridey Elliott avoids the smug pitfalls of narratives concerned with privileged people drinking themselves into a stupor.
  27. On the Basis of Sex is too often busy revering Ruth Bader Ginsburg for her confidence and brilliance to bother with presenting her as a living, breathing human being.
  28. Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.
  29. Director and co-writer Milad Alami's film feels like several fused-together trial drafts of the same narrative.
  30. As the film hurtles toward its tense climax, you may find yourself both deeply resenting its narrative contrivances and passionately rooting for its protagonists.

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