Slant Magazine's Scores

Select another publication »
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
view
per page
  1. Psycho
    Felt in the full impact of a theatrical screening (with the pleasure of seeing patrons reflexively kick or stiffen at the sight of Miles startled by her mirrored reflection), its power is not just that of a showman’s calibrated scare machine, but of a somber fugue on the trapped 20th-century creatures who inhabit its world, clawing but never budging an inch.
  2. Parasite
    The only thing that keeps Parasite just slightly below the tier of Bong’s best work, namely The Host and his underrated and similarly themed 2000 debut film, Barking Dogs Never Bite, is the overstuffed pile-up of incident that occurs toward the end.
  3. Battleship Potemkin
    A persistently political work salvaged by its unforgettable grasp of motion.
  4. 12 Angry Men
    What's most interesting about the intense deliberations that ensue, specifically when a piece of seemingly indisputable evidence is brought back into question, is how a fresh angle and perspective, usually born from Juror 8's critical thinking, can permanently alter the tone of the discussion.
  5. Dumbo
    In its scant 64-minute running time, the big-top melodrama of Dumbo reduces me to a blubbering, mucus-drizzling wreck at least once with every viewing.
  6. Roma
    Roma is autobiography as autocritique, and in exploring a point of view adjacent to his own, Cuarón appears to have rediscovered his identity as a filmmaker.
  7. Man with a Movie Camera
    The blatant staging and rich emotional undercurrent of Vertov’s documentary footage presage Werner Herzog’s ecstatic truth mantra, and was a far cry from the utilitarian social-realist mandate that would soon drain Soviet cinema of this experimental edge.
  8. Spirited Away
    Miyazaki celebrates individualism and nature’s simple, untainted beauties, subsequently pondering the transcendent power of communication between the “inside” and the “outside.”
  9. Toy Story
    The film is virtually perfect: Nary a frame goes to waste in the establishment and development of plot and character, with the occasionally deviant touch serving to neutralize a sense of overly manufactured calculation.
  10. Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    Questlove’s Summer of Soul is as much an essential music documentary as it is a public service.
  11. The Shop Around the Corner
    The charm of the gimmick in Lubitsch’s take (directing a script by Samuel Raphaelson, who had collaborated with the German-born filmmaker on comedies and melodramas alike) is passed over quickly in favor of studying both its effects on those involved, as well as the dynamics of the workplace at large.
    • 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.
  13. 12 Years a Slave
    Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
  14. Manchester by the Sea
    Kenneth Lonergan's film gradually comes to its sense of exquisitely calibrated, hardened intimacy.
  15. The Battle of Algiers
    Gillo Pontecorvo’s The Battle of Algiers is a political tract that understands itself also as a cinematic exercise.
  16. A Hard Day's Night
    Even when the band plays away from private eyes or songs simply play over disconnected footage of them having fun, the strength of their songcraft is stirring.
  17. Nashville
    Stunningly, it isn’t even Altman’s best film (that would be McCabe & Mrs. Miller), but Nashville is still the movie that best embodies everything that was so freeing and generous and deceptively casual about Altman’s art, and it’s the film that best represents him as a uniquely American artist.
    • 96 Metascore
    • 88 Critic Score
    Red River
    It’s a seemingly antithetical approach which separates Hawks’s cinema from its contemporaries and, in the case of Red River, shifted the moral viability of the western genre all at once.
  19. 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.
  20. The Philadelphia Story
    Add Hepburn’s persona, beautifully explored here in all its wonder, and Stewart’s likeability, and George Cukor’s sensible, subtle, and lovingly unrushed direction of a firecracker script…the result is a studio picture far deeper and richer than its whimsical surface style might lead you to believe.
  21. Sansho the Bailiff
    There’s a reason Sansho the Bailiff is often greeted by critics and audiences with something akin to rapture: It’s a work that divorces the existential riddles of faith from regimented dogma, favoring instead the practical challenges, contradictions, and ambiguities of life as it’s often lived.
  22. The Grapes of Wrath
    Too many films these days trivialize poverty as an ironically, tastelessly over-produced pageant to earn kudos. The Grapes of Wrath is flawed, but it captures that shiver of panic that grips anyone for whom the money for the next meal is unknown. The film remains a vital document of the perversion and torment of the fantasy most commonly known as the American Dream.
  23. Snow White and the Seven Dwarfs
    If it’s possible for a parable to be too simple to even qualify as a parable, the convincingly dim Snow White represents the dopey standard.
  24. Children of Paradise (1945)
    Carné’s France, unlike the fiddle-dee-dee of Victor Fleming’s cotton pickin’ South, is a poetic realist’s wonderland, a gateway to a dreamworld where human laws are mere judicial errors and love is so painful to hold onto it can only be savored in the moment.
  25. Gravity
    Alfonso Cuarón's triumph is an invigoratingly clean, elegant display of action choreography, a La Région Centrale you can still take grandma to see.
  26. Fantasia
    It’s unquestionably among Disney’s masterpieces.
  27. L'Argent
    Robert Bresson's film hits with the effect not so much reflecting a cleansing of the soul, but rather a ransacking.
  28. Don't Look Now
    It figures that the sex scene from Nicolas Roeg’s Don’t Look Now has become more legendary than the film itself. Forget that Julie Christie and Donald Sutherland were off-screen lovers at the time, the film’s infamous bedroom romp is every bit as devastating and organic as anything else in the film.
  29. Virunga
    This is muckraking journalism that moves confidently with the brio of an action thriller.
  30. One Battle After Another
    Paul Thomas Anderson’s dark comedy One Battle After Another turns overreaching into an art form.
Page:

Top Trailers

See all »
See all trailers »