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. El Sicario: Room 164
    A lot of evil is laid on the table in El Sicario, and the film makes a big, if exquisitely subtle show, of theorizing that there's no way to explain how it got there.
    • 87 Metascore
    • 88 Critic Score
    The Kid with a Bike
    If The Kid with a Bike is a fairy tale, it's the unsentimental kind that locates the dark enchantment in characters discovering themselves during their most despairing moments. Still, it's certainly the Dardennes' fleetest, warmest film to date.
  3. Robinson in Ruins
    Robinson's very name ties him to explorers like Crusoe and Walden, but he is also something like JLG's whispering leftist prankster who butted into 2 or 3 Things I Know About Her to intermittently spout rhetoric over images of freeways and construction sites.
    • 64 Metascore
    • 88 Critic Score
    Domain
    The ultimate drama of Domain becomes how long he can be a witness to her self-destruction.
  5. Beyond the Black Rainbow
    Something like a trippy grindhouse homage whose familiar images are refracted through a prism of blacklight posters, Jodorowsky films, and even Rob Zombie's grungy psychotropic sensibility.
    • 86 Metascore
    • 88 Critic Score
    Beasts of the Southern Wild
    Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
    • 90 Metascore
    • 88 Critic Score
    This Is Not a Film
    In its way, this effort is both a forceful assertion of the most stifling brand of auteurism and a radical reconfiguration of its political potential.
  8. 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.
  9. Quill: The Life of a Guide Dog
    The exquisite live-action Quill: The Life of a Guide Dog may be the family film of the year.
  10. Unraveled
    Marc H. Simon's documentary has the thrust of a great American noir or black comedy.
  11. The Day He Arrives
    The geometry of human relationships is the main theme of Hong Sang-soo's The Day He Arrives.
  12. Jean Gentil
    Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
  13. Sleepless Night
    After a few turns in the modest narrative, an unlikely sense of structural resilience begins to emerge.
  14. Portrait of Wally
    The conclusion is a testament to the fact that authentic justice is probably only attainable by accident.
  15. Patience (After Sebald)
    A wide-ranging piece of literary criticism brought to vivid cinematic life, bursting with ideas and inspired visual translations of them.
  16. How to Survive a Plague
    Presents a cast of characters who must continue fighting, for what's at stake is the very real, very imminent threat of their own deaths.
  17. Bonsái
    Cristián Jiménez's film knows how entangled the will to know is with the will to make love.
  18. Flight
    A unique, audacious studio movie, kicking off as a star-driven spectacle before whittling itself down to a raw and riveting character study.
  19. Elena
    Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
    • 84 Metascore
    • 88 Critic Score
    Oslo, August 31st
    The evocation of things ending suffuses the film with melancholy, as Anders increasingly becomes an observant rather than a participant in his own life.
    • 55 Metascore
    • 88 Critic Score
    Extraterrestrial
    In almost every respect, Extraterrestrial is an exceptional and traditional romantic comedy. It just happens to be set during an alien invasion.
  22. El Velador
    El Velador doesn't pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
    • 58 Metascore
    • 88 Critic Score
    Cosmopolis
    Diamond-hard and dazzlingly brilliant, David Cronenberg's film plays like a deeply perverse, darkly comic successor to Videodrome.
  24. Annie Hall
    Woody Allen’s Annie Hall is made of such durable stuff that it’s liked even by many of the filmmaker’s detractors, and yet it had such a troubled production that it’s a miracle it exists at all.
  25. Farewell, My Queen
    Control is the operative element in Benoît Jacquot's work, with the main caveat being that when someone has it, someone else does not.
    • 69 Metascore
    • 88 Critic Score
    Alps
    Both a companion piece to and in many ways a reversal of "Dogtooth," it builds on that film's surreally terse style and notions of communication and identity without diluting its singularity or concentration.
    • tbd Metascore
    • 88 Critic Score
    Lung Neaw Visits His Neighbours
    Just as Rirkrit Tiravanija had done in the '90s when he converted New York City galleries into live kitchens, he changes one's relation to a movie theater to a space for meditation.
  28. Lincoln
    Steven Spielberg's film may further the heroism so associated with its subject, and favor a liberal viewpoint that leers down at the Confederates, but it's no bleeding-heart glamorization.
  29. Meet the Fokkens
    Few recent studies of commercialized sex have been character profiles, so Rob Schröder and Gabrielle Provaas's documentary is an unusual and welcome polemic.
  30. Max and the Junkmen (1971)
    Regarding Michel Piccoli's Max, Claude Sautet's film resists judgment, neither condoning nor signposting the despicable nature of his choices.
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