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 6.4 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. Portrait of a Lady on Fire
    What's most stirring about Céline Sciamma's film is the lack of artifice in Héloïse and Marianne's feelings for one another.
  2. I Am Not Your Negro
    The film makes no concessions about its dissatisfaction with the whole rotten lot of so-called western democracy.
    • 95 Metascore
    • 88 Critic Score
    Do Not Expect Too Much From the End of the World
    The film further confirms Radu Jude as one of the most idiosyncratic, uncompromising, and intellectually vigorous of living filmmakers.
  4. Aftersun
    Deftly constructed and utterly heartbreaking, Aftersun announces Charlotte Wells as an eminent storyteller of prodigious powers.
    • 95 Metascore
    • 50 Critic Score
    Amour
    This isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years.
  6. Anatomy of a Murder
    Preminger had the confidence in his performers and faith in his intelligent viewers: a happy combination.
    • 95 Metascore
    • 75 Critic Score
    Zero Dark Thirty
    Doubtless, Kathryn Bigelow's greatest strengths emerge when she can more freely flex her muscles as an action filmmaker.
  8. Collective
    The film reminds us that without investigative reporting there’s no democracy, and that traditional expectations around impartiality and objectivity may be untenable in the face of horror.
  9. A Separation
    Barriers both transparent and persistently present encase the characters of A Separation, constricting them in ways social, cultural, religious, familial, and emotional.
    • 95 Metascore
    • 75 Critic Score
    Double Indemnity
    Visually drab and flabby around the edges. Its seamy tale of murder is not layered in any way; what you see (or, in Wilder’s case, hear) is what you get.
  11. Sunrise
    A horn of cinematic plenty continuously spills from Sunrise, not only in its production design and Murnau’s dreamlike images (rendered by a pair of American cinematographers in the German émigré’s first Hollywood film), but in an unswerving commitment to the varied tones of screenwriter Carl Mayer’s scenario.
  12. His Girl Friday
    One of the greatest and most mercenary of all American comedies.
  13. Carol
    The film dares its viewers to consider that--for a couple of hours, at least--even when a thing seems too good to be true, it might not be.
  14. Before Midnight
    These films have always been about the power of words, their ability to bridge gulfs of time and space, the thrill of ideas and opinions taking definitive shape.
  15. Amazing Grace
    It offers a profound glimpse of one of the greatest and most influential voices in modern music.
  16. Dunkirk
    In devoting so much time to the dull, counterproductive mechanics of the action assembly, Dunkirk dispenses with nearly all other elements of drama.
  17. 45 Years
    It's the summative effect of the story's modest exchanges, unspooling one after another in long, tranquil shots, that lends the film its profound sense of loss.
  18. Taxi Driver
    Hitchcockian unease permeates the film, but so too does a Godardian use of space and a Bressonian focus on obsession heighten the mounting sense of dread. These elements are groovy for film buffs but are mere icing on the proverbial cake; you don’t need to be in the know to relish Scorsese’s mastery of the form, and what may astonish even more than the creative prowess is how compulsively entertaining the results are.
  19. Inside the Yellow Cocoon Shell
    The protagonist may feel cut off from the world, but the film is deeply in harmony with it.
  20. Yi Yi
    The film’s brilliance emanates equally from its structure (the story is delicately bookended by two cultural rituals: a wedding and a funeral), the acuteness of its gaze, and Yang’s acknowledgement of life as a series of alternately humdrum and catastrophic occurrences, like a flower that blooms in the summer and wilts in the fall; he hopes you will notice it, because seeing is what validates its unique extraordinariness.
  21. Mr. Turner
    An astute summation of Mike Leigh's glum view of humanity, but also a challenge to this disposition and his own pessimistic perspective.
  22. The Irishman
    Scorsese knows what his audience is hoping for: glory days, resurrected. But he also understands the impossibility of anyone being exactly as they once were. So he weaves that longing into both The Irishman‘s text and its technique.
  23. Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles
    Chantal Akerman’s 1975 experiment in film form, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, is an astonishing work of subtextual feminism which has to count as one of the seminal films of the 1970s.
  24. Grave of the Fireflies (1988)
    Isao Takahata makes survival the thematic core of the story, but he never degrades his characters or fetishizes their suffering.
    • 94 Metascore
    • 100 Critic Score
    Shadow of a Doubt
    Hitch’s habit of taking us to the edge of the abyss and then returning us with a wink, so often resulting in unconvincing happy endings, here seals one of his most pitiless visions of a monstrous cosmos admitted only to be denied.
  26. Inside Out
    Both wonderfully complex and weirdly reductive at the same time—a formula, though, that seems as sound an embodiment of the human brain as any other.
  27. My Undesirable Friends: Part I - Last Air in Moscow
    The drama is all surface, in other words. And what a surface, for sure. A literal life and death struggle that’s exceedingly of this moment. Yet the best documentaries tend to have formidable underlying narratives working in concert with their overlying ones.
  28. Meet Me in St. Louis
    Vincente Minnelli’s most acclaimed musical, Meet Me in St. Louis is a fresh breath of stale air, a tart ode to nostalgia.
  29. Sunset Boulevard
    Sunset Boulevard posits that the business and process of making films can often turn writers and directors into soulless scavengers of narrative detritus, performers into howling husks of wasted talent.
  30. The Apartment
    The tone of The Apartment differs from both those darkly moral movies and the filmmaker’s farces, finding a middle ground of somber tragedy that undercuts the awkward comedy of manners between the characters.
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