Slant Magazine's Scores

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For 7,772 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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    • 54 Metascore
    • 12 Critic Score
    Oblivion
    Absent of any sense of self-awareness, Oblivion seems only self-serious, a ponderous mess both misguided and unaware.
  2. In the House
    It's buoyant and titillates, striking that distinctly Ozonian balance between the beautiful and the sinister, but it doesn't resonate.
  3. The Patience Stone
    While Atiq Rahimi's film may peel away the many layers of its female lead like an onion, the end result is still just an onion.
  4. Portrait of Jason (re-release)
    The film is a conversation between two disadvantaged artists with indelible personalities, both of whom are unabashedly manipulating their way into at least the esoteric side of the everlasting.
    • 73 Metascore
    • 63 Critic Score
    Herman's House
    An involving documentary that doesn't offer a convincing argument against solitary confinement for those who may not fully realize what's objectionable about it.
  6. The Reluctant Fundamentalist
    The laziest sort of political cinema, full of straw men and finger-pointing, wrapped up in an awards-friendly bow by its beautiful cinematography and a manipulative world music-y score.
  7. Prince Avalanche
    The psychological path of these characters is finely marked with signposts, but as Prince Avalanche reaches its destination, you almost wish it would have gotten a little more lost in the woods.
  8. V/H/S/2
    A welcome contrast to the first film's snuff-y atmosphere and general mean-spiritedness, featuring more humor, fewer hateful characters, and occasional twinges of relatable human emotion.
  9. Deceptive Practices: The Mysteries and Mentors of Ricky Jay
    It never bothers to attempt the one thing we'd expect and hope from a documentary about Ricky Jay: It doesn't try to bamboozle us.
  10. The Lords of Salem
    Rob Zombie understands horror as an aural-visual experience that should gnaw at the nerves, seep into the subconscious, and beget unshakeable nightmares.
  11. Oconomowoc
    Writer-director Andy Gillies's film is extremely self-conscious, but in a fashion that generally serves the material.
  12. Fists of Legend
    The film is so generous in its characterizations that it's easy to overlook the fact that its hot-topic drama (bullying, economic marginalization, etc.) amounts to little more than padded lip service.
  13. American Meat
    Despite the intensity of its scope and research, American Meat is a decidedly soft-hitting display of an overweening good faith that, frankly, just can't jibe with the times.
  14. 42
    The film elevates the story of Jackie Robinson to that of cornball legend rather than just honoring his legitimately uplifting, heroic saga by telling it straight.
  15. This Ain't California
    While the film is deeply romantic and nostalgic, possessing a genuine reverence for youth and rebellion, it's also something of a tragedy.
  16. Disconnect
    Fails not so much because of its occasional self-seriousness or didacticism than it does from a scattered plot that makes the story's overriding theme or message difficult to grasp.
  17. Antiviral
    A one-joke movie--a good joke, yes, but Brandon Cronenberg's agenda clouds the clarity that's needed to fully deliver the punchline.
  18. At Any Price
    Alternates between business-world morality play, family drama, and portrait of a local community without ever comfortably integrating these disparate elements into his messy stew.
  19. The Angels' Share
    Ken Loach's breezy scribble about lowlife redemption and drunken buffoonery isn't so much heavy-handed as it is charmingly weightless.
    • 57 Metascore
    • 50 Critic Score
    It's a Disaster
    The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters' existential or psychological crises.
  21. Andre Gregory: Before and After Dinner
    Perhaps the most valuable insight that the film provides about its subject is that he acts even as he directs.
  22. Free Angela & All Political Prisoners
    It foists its own retelling of Angela Davis's story over any contemplation of her politics, effectively neutering their power as it could apply to today in the hands of a proper film essayist.
    • 57 Metascore
    • 75 Critic Score
    Evil Dead
    The setup and geography are consistent with the original, though the film never makes the mistake of trying to rebottle the lightning that electrified Sam Raimi's movie.
    • 57 Metascore
    • 50 Critic Score
    Eddie: The Sleepwalking Cannibal
    Because the film clearly aims for satire, Boris Rodriguez isn't entirely guilty of indulging gruesome spectacle for its own sake.
  25. Lotus Eaters
    The free spirit-ness of its characters is certainly mirrored in the film's aesthetic playfulness, but the initial glimmer of Fassbinder-esque expression quickly veers toward Xavier Dolan-grade affectation.
  26. Stranger Things
    Eleanor Burke and Ron Eyal's film is a tasteful, well-orchestrated drama that never reaches beyond its humble means.
    • 58 Metascore
    • 50 Critic Score
    No Place on Earth
    A remarkable story made almost unremarkable in the hands of lazy filmmaking.
  28. To the Wonder
    Throughout To the Wonder, the new and old are incessantly twinned, blurred into a package that suggests an experimental dance piece.
  29. An Oversimplification of Her Beauty
    A playfully self-reflective rumination on what writer-director Terence Nance has described as "self-awareness through experience with love."
  30. The Brass Teapot
    Imbued with a buoyant mysticism, the film is more gag-friendly than idea-based, primarily relying on the considerable charm of its leads to ground its supernatural conceit.
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