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. Hard to Be a God
    Aleksei German's final film is choreographed with a Felliniesque social grandeur, but tethered to a neorealist's eye for detail and quotidian matters of social justice.
    • 55 Metascore
    • 100 Critic Score
    An American Werewolf in London
    The film’s indisputable centerpiece is the protracted werewolf transformation sequence.
  3. Menus Plaisirs - Les Troisgros
    With Menus-Plaisirs Les Troisgros, Frederick Wiseman proves again to be the master poet of micro textures that speak to the macro of social infrastructure.
  4. The Turin Horse
    Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus.
  5. Do the Right Thing
    Lee deftly follows the actions of two dozen people on what turns out to be one of the longest, hottest, most memorable and maybe most tragic days of their lives. And he does it without so much as a single lugubrious or extraneous moment.
  6. Day of the Dead
    Here, a pessimistic Romero dares to tackle the very essence of man’s inhumanity to man. And in the end, Day of the Dead is every bit as compelling and unsettling as its more lauded predecessors.
  7. Mommie Dearest
    Inscrutably powerful and brutally honest about diva worship as another form of male domination, Mommie Dearest is to camp what Medea was to Dr. Benjamin Spock.
  8. Rosemary's Baby
    Rosemary’s Baby is one of horror cinema’s all-time slow burns, drawing viewers gradually into entertaining the possibility that the movie’s series of strange coincidences and accumulating sense of dread are only subjective representations of Rosemary’s unraveling mental state.
    • 87 Metascore
    • 100 Critic Score
    Medium Cool
    Medium Cool stages, not so much with voguish nihilism, despite its demonstrably downbeat ending, as dispassionate vérité straightforwardness, the growing pains that strain a nation when the countercultural ideal of limitless possibility matures into something closer to political reality.
  10. Underground
    Underground is a unique blend of lowbrow slapstick and sophisticated war commentary, earning it well-deserved comparisons to Ernst Lubitsch’s brilliant To Be and Not To Be (possibly the funniest movie ever made) and the films of Abbott and Costello.
  11. Apocalypse Now Redux
    With its view of Vietnam as a colonial mud pit being raped by a post-rock generation, it’s as aimless as it is prescient. Coppola’s subjective use of technology (pathologically integrating operatic image and sound) evokes war as a psychedelic fugue state: timeless, horrifying, and affecting us all.
  12. I Am Cuba
    I Am Cuba is a cinephile’s wet dream, a collage of Herculean feats of technical wizardry that would be easy to dismiss if it wasn’t so humane.
  13. Singin' in the Rain
    Many things reinforce the enduring greatness of Singin’ in the Rain, but its most charming element is the filmmakers’ love for and dedication to the basic tenants of cinema as pure enchantment, and an open indulgence of all the bells and whistles that have been allowed it to grow into something bigger and (arguably) better over the decades.
  14. Rebecca
    A key film in Alfred Hitchcock’s evolution as a master explorer of sexual neuroses.
  15. Mulholland Dr.
    Mulholland Drive is a haunting, selfish masterpiece that literalizes the theory of surrealism as perpetual dream state.
  16. Ghost World
    Ghost World is a beautiful evocation of the ghostly nature of love, loss, and ultimately memory itself.
  17. The Tales of Hoffmann
    Though lacking the thematic depth that characterized the Archers’ earlier work, The Tales of Hoffmann ranks among their finest triumphs for its purely aesthetic self-justification.
  18. Museum Hours
    Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects.
  19. Phoenix
    Christian Petzold never luxuriates in all this film history, but rather channels the artifice and affect it embodies into new insights.
  20. Our Body
    Our Body offers, in its unwavering commitment to staring at the fragility of life in the eye, a solace devoid of romanticism or spiritual self-delusion.
    • 96 Metascore
    • 100 Critic Score
    Breathless
    What remains most striking, and most moving, about Godard’s first feature is its sophisticated yet largely guileless faith in the filmic medium, a cinephilia untainted by smugness or cynicism.
  22. Koyaanisqatsi
    Koyaanisqatsi is enraged with modern societal convention, but still expresses awe of the spontaneous, incidental poetry that can exist despite invisible oppression.
  23. Sorcerer
    Rather than a fleeting image of violence, however, Friedkin’s cyclical, almost Kafkaesque insistence that politics revolves around now globalized, corporate power delegating hired guns to do under-the-table bidding across national boundaries announces itself through the soundscape, with Tangerine Dream’s electronic basslines substituting for bloodshed. No one escapes the suffocating corrosion of Sorcerer’s polysemous diegesis—not even Friedkin himself, as audiences and industry would have it.
  24. The Passion of Joan of Arc
    The Passion of Joan of Arc remains the moment that [Dreyer] guided his medium to new heights, and also crafted a work that would endure outside of any specific context.
  25. Fireworks
    It’s a weird experience that Kitano is offering to movie audiences: We thrill to the violent, heroic exploits that leave many a pierced eyeball, many a severed limb, many a bullet-riddled corpse, but we find uplift in his celebration of community, music, dance, light, color, and companionship.
    • 72 Metascore
    • 100 Critic Score
    Scarecrow
    Scarecrow embraces sprawl of both the narrative and geographical variety with freewheeling abandon.
  27. Madam Phung's Last Journey
    With the invocation of national allegiance as an inherent contradiction, the documentary blooms its larger, allegorical inklings.
    • 90 Metascore
    • 100 Critic Score
    The Circus
    It is Chaplin’s great elegy to the lost art of music-hall pantomime and, for that matter, the soon-to-be lost art of silent-film comedy.
  29. Once Upon a Time ... in Hollywood
    The film is Quentin Tarantino’s magnum opus—a sweeping statement on an entire generation of American popular culture and an almost expressionistic rendering of the counterculture forming at its margins, gradually growing in influence.
  30. Lord of the Flies
    Brook renders savagery with the despairing eye of a humanist, and with the irresolvable ambivalence of an artist.
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