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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    • 88 Metascore
    • 75 Critic Score
    Pictures of Ghosts
    As always with Kleber Mendonça Filho, to reflect reality isn’t enough, as cinema has to find its own truth, even if it takes some imagination to get there.
  2. Aquarius
    Aquarius is a critique of a daydream that has the imaginative daring to live that very dream anyway.
  3. 2000 Meters to Andriivka
    The interjections of quotidian reflection give a fullness and emotional resonance to a film that can, at times, be borderline oppressive in its depiction of war’s brutality.
  4. Slow Machine
    The film navigates a tricky space between pathos and absurdity and often turns on a dime from one to the other.
  5. Back to the Future
    Back to the Future stands up on its own as a well-oiled, brilliantly-edited example of new-school, Spielberg-cultivated thrill-craft, one that endures even now that its visual effects and haw-haw references to Pepsi Free and reruns seem as dated as full-service gas stations apparently did in 1985.
  6. Black Panther
    Michel B. Jordan plays Erik Killmonger with such moving, occasionally gut-wrenching commitment that it nearly mitigates the goofiness of his moniker and the superficiality of the film in toto.
  7. Cemetery of Splendor
    It gently and often imperceptibly shifts between past and present, legend and modernity, wakefulness and reverie.
    • 88 Metascore
    • 100 Critic Score
    The Bridge on the River Kwai
    Whereas Lawrence of Arabia and Doctor Zhivago feel more pictorial than cinematic, The Bridge on the River Kwai carefully builds its psychological tension until it erupts in a blinding flash of sulfur and flame.
  9. Brooklyn
    The allure of the road not taken and Saoirse Ronan's performance exert a powerful pull.
  10. Mary Poppins
    The “Whistle While You Work” residue of domestic slavery that colors “A Spoonful of Sugar” aside, Mary Poppins is basically Long Day’s Journey Into Matriarchy (cathartic for some, terrifying for others).
  11. Faces
    Cassavetes didn’t improvise, and Faces was scripted, but many of the film’s scenes still have the feel of conversations happening right in front of you, with all the imperfections and digressions and looseness of the everyday.
  12. Good Morning
    This profound film reveals that nothing is below the purview of existential contemplation, even all matters of flatulence, and words as simple as “Good morning” are revealed to contain fathomless multitudes.
  13. Newtown
    Its enervated address of both mental-health treatment and gun laws receives few constructive articulations beyond a single scene.
  14. If Beale Street Could Talk
    The film is at its most potent in the scenes where human frailty and the specter of injustice come more elliptically to the surface.
  15. Birdman or (The Unexpected Virtue of Ignorance)
    It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
  16. Out 1: Noli Me Tangere (1971)
    Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis.
  17. The Awful Truth
    The Awful Truth is a perfect farce, devoid of any fat, in which Lucy and Jerry’s fantasies and schemes topple after one another like figurative dominoes.
  18. Can You Ever Forgive Me?
    Richard E. Grant is captivating on his own, but his rapport with Melissa McCarthy is so effortless that their characters’ conversations offer deeper pleasures than the main plot of the film.
  19. Wolfwalkers
    The storyline’s edges are frayed just enough to give it the gentle distance of a tale recalled though the gauze of myth and memory.
  20. It Happened One Night
    Even now, It Happened One Night carries the unmistakable tenor of a breakout hit, fueled by confidently zippy repartee and manic comic invention that almost none of the innumerable pretenders to the throne of romantic comedy can match.
    • 87 Metascore
    • 88 Critic Score
    Nothing But a Man (1964)
    It can't be overstated just how Nothing But a Man is militantly tone-deaf to the Hollywood muzak of race relations.
  22. Happy Hour
    Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.
    • 87 Metascore
    • 88 Critic Score
    My Neighbor Totoro
    It’s a film that proves time and again that life itself is the grandest, most galvanizing of all dramas.
  24. The Missing Picture
    Paramount to molding a narrative of war and totalitarianism, however, is the inventive aesthetic in which Panh frames his memoir: a hypnotic hybrid of bleak archival footage, thoughtful voiceover, tone-dictating music, and—most significantly—homemade clay-figurine dioramas.
  25. Of Men and War
    A work of astounding sensitivity and precision, it argues for emotional honesty as a moral and psychic imperative.
  26. The Long Goodbye
    The film is simultaneously an act of revisionism as well as a parody of then-revitalizing neo-noir.
  27. Imitation of Life
    The film isn’t only revolutionary for its aesthetic rigorousness but its rare fascination with white America’s difficulty relating to people of color.
  28. Pain and Glory
    Pedro Almodóvar’s latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.
  29. Genèse (Genesis)
    Lesage pulls focus onto the aftershocks of trauma rather than the traumatic events themselves.
  30. Eraserhead
    Eraserhead is an extraordinarily raw film that’s not so much an announcement of its filmmaker’s obsessions, but a complete, intimate, and heartbreaking fulfillment of them.
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