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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  1. Beyond the Lights
    By rooting Noni's self-image issues in a controlling mother, the script provides the film with a tame, melodramatic structure that dulls the thorny matters of identity and expression at its center.
  2. Tricked: The Documentary
    For all the heartbreaking depth with which the filmmakers explore the horrors of human trafficking, the film still leaves one with a sense of a larger story just beyond their grasp.
  3. The Sacrament
    With The Sacrament, director Ti West has bitten off more of a premise than his classically modest barebones approach to horror movies can presently chew.
  4. Big Bad Wolves
    From a purely suspenseful vantage point, Big Bad Wolves is an efficient and effective beast.
  5. Grand Piano
    Eugenio Mira thrills in watching his main character attempt to worm his way out of a most unusual hostage situation, synching his indulgences of style to the pianist's wily physical maneuvering.
  6. Blue Ruin
    By reducing its principals to stock figures in an extended chess game, it ends up providing steady, neatly staged thrills, but little else of substance.
  7. The Raid 2
    It's all showy viscera, no ballet, and wan attempts at the gravity of something like Drug War, with implicit statements made about the deadening nature of violence or the moral equivalency of state-sanctioned and criminal force, don't come close to cohering.
  8. Raze
    Raze leaves the background particulars about this competition oblique, partly because it adds a layer of ominous mystery, but primarily because it doesn't matter; witnessing women-on-women violence is the thing here, regardless of any narrative context.
  9. Interior. Leather Bar.
    With Travis Mathews's help, James Franco's persona forms a kind of symmetry: 1980's dubious homophobia against 2013's risible homophilia.
  10. The Great Flood
    Even in comparatively conventional mode, Bill Morrison's work still benefits from the poetic potential of nature's repossession of its own elements.
  11. Everest
    It feels less like an cautionary adventure movie or the classy Hollywood equivalent of a Reader's Digest "Drama in Real Life" and much more like a disaster epic.
  12. Nightcrawler
    Dan Gilroy's directorial debut only offers a familiar vision of today's newsman and producers as misery peddlers, and callow ratings slaves bordering on the monstrous.
  13. Bethlehem
    In the end, the film's misstep isn't some failure at being sufficiently morally gray. In being the thriller that it is, it smudges the palette beyond recognition.
    • 56 Metascore
    • 63 Critic Score
    Date and Switch
    The film's forced quirkiness and repeated displays of bro-ism in action hinder the potential for a more subtle approach to the potentially challenging issue the story depicts.
  15. The Trip to Italy
    Michael Winterbottom and his gifted actors still haven't quite solved the riddle of portraying social disconnection in a manner that's anything other than sporadically involving.
  16. Far from the Madding Crowd
    The lack of real analysis or consideration leaves this perilously close to a Goldilocks-style depiction of privileged female indecision.
  17. The Drop
    With its optimistic ending, the film muddies its previous statements regarding the danger of unthinkingly hanging on to totems of the past.
  18. The Homesman
    If there's any ambiguity to be found in the film's prolonged last gasps, which reach for tragedy, but only sow more epistemic confusion, it's of a mawkish and unpalatable variety.
  19. Midnight Special
    It starts off as a dynamic parable about faith before wilting into a glum and rather disingenuous paean to the family.
  20. Rosewater
    It shrugs off the bigger questions about Iranian politics its first half appears to raise, falling back instead on a gestalt of the eternal, Kafkaesque regime, wherever the viewer may find it.
  21. True Story
    If the film's copycat visual artistry illuminates nothing, at least its script is sincerely devoted to probing Finkel and Longo's odd partnership.
  22. Unbroken
    The film's chief misstep is taking its title too literally, and ultimately depicting Louie as an indestructible, and thus largely inhuman, superhero.
  23. The Two Faces of January
    Superbly acted and sporadically intriguing thriller, yet it has a difficult time locating more stringent meaning and significance beyond its outward narrative of duplicitous actions and veiled motivations.
  24. Life Itself
    There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
  25. Song One
    This snapshot of catharsis follows a familiar trajectory, but Kate Barker-Froyland refreshingly resists elevating her characters' relationship to the level of grandiose.
  26. Laggies
    To Keira Knightley's credit, she's all too willing to undercut her pretty-girl reputation by looking and acting a fool for Lynn Shelton's camera.
  27. Love Is Strange
    Ira Sachs's push for heartrending poetry makes it clear that the film is putting too fine a gloss on the acute pains of one small tragedy.
  28. The Sleepwalker
    The film soon settles into a confident, well-staged groove, primarily because of two unambiguously terrific performances.
  29. Cold in July
    While Jim Mickle's compositions lose much of their verve in the film's later half, his regard for the analog does not--and at the expense of perspective into his characters' emotional torque.
  30. Infinitely Polar Bear
    Maya Forbes reveals herself as a sunny optimist, insistent on remembering the ecstatic highs and never dwelling on the despairing lows.
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