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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  1. Ghost World
    Ghost World is a beautiful evocation of the ghostly nature of love, loss, and ultimately memory itself.
  2. Mulholland Dr.
    Mulholland Drive is a haunting, selfish masterpiece that literalizes the theory of surrealism as perpetual dream state.
  3. Dead Man
    Dead Man is likely Jim Jarmusch’s most stunning achievement.
    • 88 Metascore
    • 100 Critic Score
    The Conversation
    A shout-out to Michelangelo Antonioni’s Blow-up, The Conversation perfectly encapsulates the disaffection, alienation, and paranoia infecting America’s body politic in the era of Watergate.
  5. The Shining
    It’s the experience more so than the actual content of The Shining that radiates cold, anti-humanly indifferent terror.
  6. The Fly
    In its galvanizing portrait of a body ravaged and sexual stasis infected by bugs, The Fly might be Cronenberg’s most direct horror film ever.
  7. Tootsie
    The film, as a whole, isn’t quite up to the phenomenal dexterity of its lead’s exertions. But there’s a legitimate reason people love this movie so much: Pollack syphoned Hoffman’s ecstatic electricity off into a popular and old-fashioned romantic-comedy formula, bringing it back to life. Tootsie is a remarkably gentle and human pop movie that informs the term “escapism” with an almost cleansing sense of decency.
  8. The Graduate
    Director Mike Nichols exploits rather than interrogates Ben’s anxieties, so that his ennui is reducible to his accomplishments, which keep getting repeated by the adults as badges of vicarious honor. Nichols also plays Ben’s socially awkward tics for laughs, whether Ben’s literally whimpering in Mrs. Robinson’s presence or in a cold sweat as he arranges what appears to be his first sexual encounter.
    • 62 Metascore
    • 100 Critic Score
    Empire of the Sun
    While screenwriter Tom Stoppard supplies a literate script, it’s Spielberg’s peerless command of film technique that drives the film, with the director crafting a number of sequences that function as impressive examples of pure visual storytelling.
    • 100 Metascore
    • 100 Critic Score
    Tokyo Story
    In this exquisite merging of specific and universal, infinite and infinitesimal, Tokyo Story perhaps most clearly illuminates that Ozu is not the most Japanese of filmmakers, but the most human.
  11. Beginners
    One of the most distinct pleasures of Beginners is the way it puts together fragments of someone's life-presumably the filmmaker's, although little does it matter-with humility, and without vying for some complete whole.
    • 55 Metascore
    • 100 Critic Score
    An American Werewolf in London
    The film’s indisputable centerpiece is the protracted werewolf transformation sequence.
  13. Le Rayon Vert (1986)
    Those who find Rohmer heroines difficult - that is, demanding because they are three-dimensional, non-formulaic creations with an intricate set of foibles and needs - might even be won over by the depth and poignancy of Delphine, one of its maker's most generously etched characters.
  14. The Nine Muses
    The Nine Muses is the kind of nonfiction film I actively hope for: a picture of intuitive, free-associational power that cuts far deeper emotionally than a dry recitation of dates and facts could ever hope to.
  15. In the Family
    An acutely felt, altogether devastating family drama as intimate and affecting as it is sprawling and untamed.
  16. Tomboy
    Tomboy is one of those little big films whose simplicity and concision suggest the excess of meaning that language (cinematic or otherwise) could never account for.
    • 91 Metascore
    • 100 Critic Score
    A Brighter Summer Day (1991)
    It's in his generous, objective use of long shots and spare but startling close-ups that we see once again the influence of Robert Altman in Yang's aesthetic and the struggle of the Taiwanese people to accept their history. In essence, Yang uses his aesthetic to bring into the light that which is dark.
    • 75 Metascore
    • 100 Critic Score
    House of Pleasures
    A brief history of time and space, according to Bertrand Bonello.
  19. Deep End (1970)
    Deep End is as soaked in pheromones and nervous electricity as Mike, but he's as much a product of the world of desire that surrounds him as one of its participants, and when the end finally comes, there's only a reprise of earlier dream imagery to suggest that there was anything other than a spasmodic, hormonal twitch involved in bringing about its conclusion.
  20. 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.
    • 85 Metascore
    • 100 Critic Score
    The Long Day Closes
    The Long Day Closes posits its pubescent protagonist as a tiny camera absorbing and transforming the reality all around him.
  22. Celine and Julie Go Boating (1974)
    Don't let the women's smirks and wordplay fool you: The fact that art is eternal often makes it more horrifying than life itself.
  23. The Color Wheel
    Much like the work of generational cohort Michael Robinson, Alex Ross Perry's films are steeped in a viscous cultural past.
  24. The Harder They Come
    The Harder They Come’s greatest asset may still be its soundtrack, which makes such a stirring impact because it provides a cathartic release from the grim realities depicted on screen.
    • 81 Metascore
    • 100 Critic Score
    The World's End
    An ordinary drama embellished and in some sense infringed on by genre elements rather than the other way around.
  26. Almayer's Folly
    Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines.
  27. Citizen Kane
    I still stare at it, amazed and entertained, but dwarfed by the very idea of attempting to untangle the crow’s nest that has formed through the film’s ever-expanding histories. And what continuously stupefies me is that time works no miracles on this particular film: Scenes remain familiar, but the narrative seems to shift every time I return to it.
  28. Vertigo
    Alfred Hitchcock’s rich and strange masterwork.
  29. You're Next
    Adam Wingard's You're Next brazenly merges the home-invasion thriller with the dysfunctional family dramedy.
    • 85 Metascore
    • 100 Critic Score
    Wake in Fright (1971)
    The film's vision of masculine self-sufficiency is built around--and on, via Australia's own bloody colonial history--an elemental violence.
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