Slant Magazine's Scores

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For 7,789 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: 4,359 out of 7789
  2. Mixed: 1,496 out of 7789
  3. Negative: 1,934 out of 7789
7789 movie reviews
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    • 67 Metascore
    • 63 Critic Score
    American Promise
    The documentary's lack of a cohesive thesis may frustrate at times, but its power lies in its exposition of the mundane.
  2. The Armstrong Lie
    The film can't entirely avoid the feeling of a less-productive score-settling hit piece, as if Alex Gibney was making this film merely to stick it to the subject that screwed him big time.
  3. Locke
    The literalizing of Ivan Locke's hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
  4. On the Job
    A nose-to-the-ground crime thriller that also doubles as a wide-ranging portrait of official corruption in the Philippines, On the Job has little trouble delivering the genre goods.
  5. Sunlight Jr.
    An admirable refusal to adhere to any overexposed poverty-porn templates, however, is taken a little too far in the opposite direction, to the point that the film feels self-consciously shapeless.
  6. A Wolf at the Door
    It finds its strength in painting a portrait of Brazilian heterosexual gender relations as an always-volatile symbiosis between feminine hysteria and ruthless machismo.
  7. Capital
    Costa-Gavras's new film is more a funhouse-mirror panegyric (albeit on an exhausted topic) than the staid thriller promised by its press materials.
  8. Enzo Avitabile Music Life
    Even if the film never transcends its subject matter, Jonathan Demme's light touch adds up to a charming portrait, only rarely fumbling into hagiography.
  9. Toad Road
    Writer-director Jason Banker finds the ironic beauty that arises from his characters' self-contemptuous and misplaced acts of destruction.
  10. S#x Acts
    In its refusal to bring an easy understanding to its main character's behavior, it comes dangerously close to presenting her as a willing perpetrator in her own victimhood.
  11. Days of Grace
    Eventually, the film's impressive array of formal pyrotechnics overwhelms its morals.
  12. The Last Sentence
    Though ambitiously busy, the film is also self-sabotaging and stagnant, showcasing its main character's struggles without interpreting them into a cohesive thesis.
  13. I Am Divine
    Though it may boil down to your average procession-of-talking-heads template, it's still enlivened by the raucous words from the band of outsiders who supported and launched Divine into the limelight.
  14. One Chance
    David Frankel crams his story with predictable developments, yet he matches his subject in spirit, pushing something into the spotlight that, however unlikely, elicits irresistible glee.
    • 62 Metascore
    • 63 Critic Score
    Aftermath
    The film isn't so much about the moral atrophy of people who refuse to come to terms with their past as it is about cosmic karma passed from fathers to sons like an ancient curse.
  16. The Quiet Ones
    If the stock concessions made to genre cliché by The Woman in Black can be charitably viewed as deliberate tips of the hat to the heyday of Hammer Films, then John Pogue's period-set exorcism yarn The Quiet Ones more interestingly upends those tropes.
  17. The Ghosts in Our Machine
    Jo-Anne McArthur's cause draws sharp comparisons with the never-mentioned PETA, a seemingly insignificant omission that discloses a lingering problem of willful insularity.
  18. Faust
    Though its ballast of jokes and spectacle are formidable, it often lurches about at a remote, enigmatic distance
  19. Swerve
    A confident and exciting genre film, and that's certainly not nothing, but it has a slight impersonality that marks it as either a calling card or a work for hire.
  20. The Banshee Chapter
    Director Blair Erickson surely has style to burn, even if he oftentimes betrays his atmospheric shorthand and gets cold feet at the most inopportune moments.
  21. Star Wars: Episode VII - The Force Awakens
    It exists less as a meaningful extension of its world than as a fan-service deployment device.
    • 59 Metascore
    • 63 Critic Score
    Detroit Unleaded
    It compellingly engages with the specific problems of a cultural group rarely represented in American film, but it too easily and abruptly resolves its main characters' problems.
  23. Weekend of a Champion
    The film is at its most fascinating when Jackie Stewart authoritatively and pedagogically discusses the nuances of his trade.
  24. Cuban Fury
    The film is thin on concept and limited in style, but the filmmakers have the good sense to let their characters remain playful and goofy throughout.
  25. The Unbelievers
    It ably captures the provocative open forums that Richard Dawkins and Lawrence Krauss conduct, but its uneven nature occasionally dulls the effect of these intellectually stimulating conversations.
  26. The Purge: Anarchy
    DeMonaco may doubly, sometimes triply, underline the story's governing theme of social power and how it's exchanged, but the rage and lucidity of these ideas resonate.
  27. Return to Homs
    The film is a testament to the power of video to document resistance to corrupt and abusive regimes, but it's also a witness to the limits of that power.
  28. Cesar Chavez
    Not unlike Michael Peña's prior supporting roles, Chavez is marked by an explosive anger kept under a cherubic, sweet-natured mask, providing the surprise lacking in the story's text.
  29. St. Vincent
    The actors create emotionally coherent and sympathetic characters from a collection of often contradictory, monumentally irresponsible, or just plain improbable actions.
  30. Tracks
    The feminist bent of Robyn's quest nicely shadows the film without ever being stated aloud.
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