Slant Magazine's Scores

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For 7,776 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 6.3 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
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  1. Jack and the Cuckoo-Clock Heart
    The film is at once enabled and hindered by its utter strangeness, an intrinsic quality surely exacerbated in its English-language release.
    • 68 Metascore
    • 88 Critic Score
    Maps to the Stars
    If the research that Cronenberg and Wagner engaged in for Maps to the Stars oftentimes appears more entomological than sociological, there's nonetheless a plaintive chord of melancholy that plays throughout the film.
  3. Two Days, One Night
    The Dardennes believe in human value and social order being rooted in a sense of solidarity, a staggering consciousness of community that brims with a sensitivity to place, movement, and emotion.
  4. 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.
  5. Lilting
    Lilting doesn't have any momentum or any sense of ambiguity, once the setup has been established.
  6. Jauja
    Other films of this ilk use widescreen composition to highlight a terrifying existential void, but these cramped frames tend to produce the nutty energy of cabin fever.
  7. '71
    It distinguishes itself from Pual Greengrass's films by virtue of its close attention to political and moral ambiguities.
  8. Hector and the Search for Happiness
    It culminates in a weepy climax that verifies its status as a proud hunk of propaganda from America's massive self-help industry.
  9. The Maze Runner
    A curious blend of our newly acquired taste for dystopia alongside a healthy sprinkling of Lord of the Flies, the film offers familiar pleasures without prompting the sense of having already been here before.
  10. Fort Bliss
    The complicated psychological realities of army personnel require a tougher directorial treatment than the maudlin melodrama presented here.
  11. This Is Where I Leave You
    And the jury's still very much out over whether Shawn Levy is an inept comedy director masquerading as an opportunistically dramatic one, or vice versa.
  12. Pump
    The doc does a good job of avoiding partisan caterwauling, limiting its argument to a clear thesis and well-articulated supporting statements.
  13. A Walk Among the Tombstones
    All of Scott Frank's thematic concerns are little more than window dressing for a run-of-the-mill detective story in line with '90s thrillers like The Bone Collector.
  14. Whiplash
    The thrill of watching Fletcher and Neyman's fray unfold is intensified by Damien Chazelle's attention to the craft and challenge of musicianship.
  15. Reclaim
    Reclaim's highly mechanized plot ensures that the film is over before it even ends.
  16. Life's a Breeze
    A rigidly predetermined film that runs on the fumes of hackneyed plot points, squandering at nearly every turn a humanistic study of a family's struggle to maintain a tenable bond with one another.
  17. Tracks
    The feminist bent of Robyn's quest nicely shadows the film without ever being stated aloud.
  18. Swim Little Fish Swim
    It subtly counteracts the cliché that creative expression can save your life by making its protagonist a hipster Peter Pan whose creative expression is an excuse not to grow up.
  19. A Life in Dirty Movies
    Wiktor Ericsson emphasizes one of the strongest and most distinctive features of Joseph Sarno's aesthetic: his concentration on female pleasure.
  20. Art and Craft
    The filmmakers profile the prolific Mark Landis with a non-judgmental straightforwardness that allows the sheer brazenness of his scams to generate both shock and amusement.
  21. Stop the Pounding Heart
    Roberto Minervini has created a moving portrait of feminism born out of hard work and intuitiveness, but he never belittles or condescends to the faithful.
  22. Space Station 76
    As a space-opera lampoon, it's incoherent primarily because it's never clear what the filmmakers are attempting to spoof.
  23. Beloved Sisters
    It blossoms into a breezily utopian depiction of a ménage á trois whose entirely matter-of-fact presentation sets up an intriguing dissonance with the prim period setting.
  24. The Guest
    David's perversity as a character is mostly disarming for how it illuminates the sadness with which a foe can so readily be confused for a savior.
  25. The Zero Theorem
    Terry Gilliam has imposed a mix tape of his greatest hits, whose greatness was debatable to begin with, on a whiff of a story that might've flourished under the maxim "less is more."
  26. Tusk
    It suggests the worst possible gene splice of a barbed Terrance and Phillip South Park appearance, Fargo's blithe condescension, and the smuggest of Quentin Tarantino pastiches.
  27. The Theory of Everything
    Meticulous in its adherence to conventional narrative inducement, this biopic only offers a sanded-down and embossed vision of Stephen Hawking and Jane Wilde's 30-year marriage.
  28. The Drop
    With its optimistic ending, the film muddies its previous statements regarding the danger of unthinkingly hanging on to totems of the past.
  29. The Skeleton Twins
    Craig Johnson's film is ultimately most interested in what its jokes are implying or obscuring about the jokesters themselves.
  30. Archaeology of a Woman
    It purports to be an incisive character study dramatized through outré "dream logic," but Sharon Greytak's ineptitude at this very Lynchian aesthetic sucks all nuance and spirit out of the film.
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