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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    • 81 Metascore
    • 100 Critic Score
    Consuming Spirits
    Not only a monstrous visual achievement, but one of the most uniquely humanistic animated features of all time.
    • 79 Metascore
    • 100 Critic Score
    Tabu
    The pangs of romance, eroticism, anguish, and longing (both for the stolen moments of private passion and for the sense-making schematics of Empire) transcend any period of cinema Tabu may evoke.
    • 80 Metascore
    • 100 Critic Score
    Room 237
    The doc positions The Shining as a comparably coiled, thematically overflowing microcosm--standing in for cinema, for history, for obsession, for postmodern theory buckling under the film's heft.
  4. The Lords of Salem
    Rob Zombie understands horror as an aural-visual experience that should gnaw at the nerves, seep into the subconscious, and beget unshakeable nightmares.
    • 81 Metascore
    • 100 Critic Score
    Leviathan
    Leviathan is a titanic achievement, a visceral overload whose impact registers immediately and with great force.
    • 94 Metascore
    • 100 Critic Score
    Badlands
    Where it’s not refined in form, Badlands is so by virtue of the specificity of its material (the then-topical sensationalism of teenage sociopaths and their glamorization in popular culture), a fact that has been buried by the dense literature published on Malick. Yet the film never once feels like the faded photos Holly examines under her father’s stereopticon.
  7. Laurence Anyways
    It takes cojones for a filmmaker to chase Fassbinder's ghost, but it takes heart and talent to damn near catch up with it.
  8. Computer Chess
    A movie which sits at the nexus between spoken and written language, the latter mostly of the programming variety.
    • 100 Metascore
    • 100 Critic Score
    Voyage to Italy (re-release)
    As befits a filmmaker who defined as well as challenged the definition of Italian neorealism, Voyage to Italy unfolds as a thorny narrative and a profoundly personal documentary.
    • 72 Metascore
    • 100 Critic Score
    Scarecrow
    Scarecrow embraces sprawl of both the narrative and geographical variety with freewheeling abandon.
  11. Her
    A screwball surrealist comedy that asks us to laugh at an unconventional romance while also disarming us with the realization that its fantasy scenario isn't too far from our present reality.
  12. A Touch of Sin
    As depicted by Jia Zhang-ke, the balance between the spoils and moral rot of murder are far preferable to the debasing rigors of tradition and hollow nationalism.
  13. Museum Hours
    Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects.
  14. Drug War
    The film is a singularly huge, relentless, all-encompassing set piece that mutates and spasms with terrifying lack of foresight. It's all business, business, business.
  15. To Be or Not to Be
    Many of the film’s pleasures, then, derive from watching these characters successfully use the tools of the stage (improvisation, sense memory, prosthetics) to successfully subvert the Nazis.
  16. The Wind Rises
    Even if Hayao Miyazaki's career is complete, a work like this serves to remind us of the shining beacons he's left behind him, the testaments to pursuing beauty in the face of so much ugliness, themselves lasting reminders of the quiet rewards of determination.
  17. Stranger by the Lake
    Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
  18. Stray Dogs
    Tsai isn't making a social-problem film here, and his critique of patriarchal control is secondary to his portrait of unbearable psychic conditions.
  19. Under the Skin
    Throughout, what truly matters to director Jonathan Glazer is articulating through visual and aural enticement the unconscious power of our death drive.
  20. Inherent Vice
    The dangers of filmmakers trying to replicate a golden era rather than embrace the present are part and parcel of Inherent Vice, but the ramifications are political as well.
  21. Dear White People
    Like the movie itself, every character is a beautiful swirl of contradictions.
    • 74 Metascore
    • 100 Critic Score
    Nostalghia
    Perhaps Tarkovsky’s most opaque film, Nostalghia is nonetheless one of his most personal.
    • 82 Metascore
    • 100 Critic Score
    Tess
    Tess is thus an almost unprecedented example of sweeping historical epic that also functions as an intense personal meditation on the capricious vicissitudes of love and death.
  24. Goodbye to Language 3D
    Cinema is a vernacular of domination, and quaking with revelations both formal and personal, the film attests that Godard has spent his career apologizing for it.
  25. Timbuktu
    The film's criticism isn't primarily rooted in satire, but rather in fury and condemnation for those who seek to be gods while shamefully feigning to follow and praise one god.
  26. 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.
  27. Level Five
    Level Five pictorializes the cruel moment when curiosity encounters tragedy, and the all-too-human abandonment of interest that can follows.
  28. Phoenix
    Christian Petzold never luxuriates in all this film history, but rather channels the artifice and affect it embodies into new insights.
  29. Story of My Death
    True to its title, the film approaches death as both narrative endpoint and formal focus, its initial vivacious mischief giving way to a Manichean fable about the waning of the light.
    • 70 Metascore
    • 100 Critic Score
    A Spell to Ward Off the Darkness
    It captures a kind of essential form of self-expression (and pleasure) that exceeds categorization, creating a shared experience between the musicians, the filmmakers, and the viewer that feels sublime.
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