Slant Magazine's Scores

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For 7,775 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: 4,349 out of 7775
  2. Mixed: 1,493 out of 7775
  3. Negative: 1,933 out of 7775
7775 movie reviews
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  1. Re-Animator
    It is almost as though these filmmakers are afraid they’ll never get the chance to make another one, and Re-Animator doesn’t hesitate in being an almost operatic, larger than life comedy of splatter. While it paints with a big (red) brush, it is never boring.
  2. Milla
    Valérie Massadian's Milla begins with a stylistic bait-and-switch that neatly summarizes the film's overall sense of formal balance.
  3. The Howling
    From the very first scene, The Howling plays around with the notion of vulnerability as a role-playing exercise, a pseudo-sex game.
  4. Good Luck
    Good Luck's political implications—most prominently that the almighty dollar is humanity's enduring slave master—are expertly woven into the hallucinatory aural-visual fabric of the film.
  5. My Beautiful Laundrette
    My Beautiful Laundrette is still fresh and remains a model case for creating moving, liberating cinema from an oppressive environment. It’s every bit the landmark gay film it deserves to be.
  6. Streets of Fire
    Walter Hill’s 1984 film combines everything from seedy bars, street fights, motorcycles, beefy heavies, and tough dames in a smorgasbord of tawdry, moral-flouting clichés that distills decades of imagery that represents youth in cinema.
  7. Sollers Point
    Sollers Point is a moving and elusive blend of naturalism and melodrama, less a character study than an analysis of a community.
  8. Meantime
    Leigh captures the restless, maddening, emasculating, demoralizing stench of poverty and unemployment with an acuity and piquancy that’s nearly unrivaled in cinema.
  9. Castle in the Sky
    Miyazaki’s concerns with the fragility and wonder of our less tangible surroundings haunt the picture without overpowering it.
  10. Diane
    Every moment in Jones’s film is so precisely textured that it becomes fantastical.
  11. Porco Rosso
    It's in this view of the military life, and competition in general, that Porco Rosso reveals itself to be one of Miyazaki’s most personal works.
  12. New York, New York
    New York, New York, like most Martin Scorsese films, is about the trials and glories of making art.
  13. Climax
    Gaspar Noé's camera captures every freak-out, recrimination, stolen kiss, and betrayal in what is a miracle of synchronicity.
  14. Ash Is Purest White
    It’s a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China.
  15. Birds of Passage
    Money corrupts, Cristina Gallego and Ciro Guerra’s would say. Easy money corrupts completely.
    • 91 Metascore
    • 88 Critic Score
    Burning
    With Burning, Lee Chang-dong extraordinarily obliterates the bifurcation between life and representation, the thing in itself and the metaphor.
  17. Shoplifters
    In Shoplifters, Kore-eda dramatizes the insidious and relativistic ordinariness of poverty.
  18. The Wild Pear Tree
    Nuri Bilge Ceylan’s film takes a leisurely approach to narrative that’s both intensely dialogical and transfixingly visual.
  19. Five Easy Pieces
    Bob Rafelson directs in an exploratory manner that naturally syncs up with Nicholson’s intuitive performance, his formalism suggesting a fusion of vérité and expressionism.
  20. Beyond the Valley of the Dolls
    While Roger Ebert’s screenplay contains overt jabs at Hollywood’s culture of exploitation, Beyond the Valley of the Dolls cannot be called anything but sincere regarding its penchant for buxom female anatomy.
  21. Araby
    A carefree life on the move is steadily and exquisitely overtaken by melancholy in writer-directors João Dumans and Affonso Uchoa’s Arábia, the portrait of a meandering journey fueled by song, anecdote, and landscape that zeroes in on the pressures of contemporary Brazil almost in passing.
  22. In the Heights
    Consistently surprising and creatively fearless, John C. Chu’s film brings monumentality to a work of infinite heart.
  23. 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.
  24. Deep Red
    A great horror film about a weak man who, gazing into a vibrant pool of freshly spilled blood, learns just how little he ultimately knows.
    • 67 Metascore
    • 88 Critic Score
    Phantom of the Paradise
    This is De Palma pouring the new wine of his formal inventiveness and anti-authoritarian irreverence into the old bottles of archetypal myths, and it remains a supremely entertaining anomaly within his filmography, yet entirely emblematic of his filmmaking sensibilities.
    • 72 Metascore
    • 88 Critic Score
    It's Alive
    By turns frightening and heartbreaking, an aspect particularly reflected in John P. Ryan’s tormented performance as the baby’s father, the film is not only perhaps one of Cohen’s best films but one of the finest American horror films of the last 30 years.
  27. Ray & Liz
    Ray & Liz generates pathos through its detailed attention to its characters' attempts to find permanence and meaning in a fundamentally unstable reality.
  28. Distant Constellation
    The film exposes the idea of places as metaphors, mirrors, and symptoms for the people who inhabit them.
  29. Serial Mom
    Serial Mom is the strongest film of the post-midnight-movie chapter of John Waters’s career.
  30. The Fabulous Baker Boys
    The Fabulous Baker Boys ultimately soars on the strength of its three perfectly cast stars, who collectively wed studies of glamour (Jeff Bridges and Pfeiffer) with ruminations on the pain of life as an everyman among stars (Beau Bridges).
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