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. Harmonium
    Throughout Harmonium, writer-director Kôji Fukada works in a rapt and lucid hyper-textural style that suggests a merging of the sensibilities of Alfred Hitchcock and Yasujirô Ozu.
  2. Kagemusha
    The film vibrates with a profound respect for historical veracity, the busy intersection between political sociology and psychology, and grunting, portentous masculinity.
  3. One Flew Over the Cuckoo's Nest
    The film remains a stunning collective of method acting and 1970s social critique.
  4. Heart of a Dog
    Laurie Anderson condenses contemporary, human experience to the point where exterior and interior are made indistinguishable from one another.
  5. Fireworks Wednesday (2006)
    Asghar Farhadi's 2006 film interrogates the tensions between tactility and vision in complex ways.
  6. All the President's Men
    All the President’s Men’s masterstroke is how it rejects mythologizing the pivotal history behind it, appropriately forgoing a climax by closing on a simple telex furiously relaying messages. The film doesn’t present two underdogs bringing down a president; it’s two reporters doing business as usual.
  7. Personal Problems (1980)
    Bill Gunn and Ishmael Reed collapse conventional notions of reality, providing simultaneous glimpses into the minds of dozens of characters, lingering on scenes and informing them with confessional intensity.
  8. Bob Dylan: Dont Look Back
    Even 48 years after its release, and well into Dylan’s current phase of relative transparency, D.A. Pennebaker’s Dont Look Back retains something of a forbidden quality, a feeling that we shouldn’t be privy to the things it shows us.
  9. Aferim!
    The film's black humor is inextricably tied to serious questions about moral relativism and personal responsibility.
    • 84 Metascore
    • 75 Critic Score
    Is God Is
    Featuring larger-than-life characters described with epithets like “monster” and “the rough one,” and blending brutal violence with themes of generational trauma, abuse, and toxic masculinity, the film ponders what one does with the bottomless hate of being wronged.
  11. War Witch
    Though ostensibly a character study, it's nevertheless characterized by the vaguely moralizing tone of an issue film, one whose candor in the face of brutality seems calculated for maximum liberal appeal.
  12. 2001: A Space Odyssey
    The final passages are the most exultant in their taking us beyond ourselves into a wide-eyed state of untarnished possibilities; entirely without words, the film reminds us that, despite how far we’ve come, the real odyssey has only just begun.
  13. Toy Story 4
    The film seamlessly interweaves fun escapades and earnest emotions, but it lacks the visual power of its predecessor.
  14. On the Record
    Russell Simmons’ victims’ sense of their own complex relations to historical power structures emerges from the film’s lucid recounting of the sexual assault allegations against him.
  15. In My Room
    In My Room often exhibits an interest only in the accruing of incidents, giving it a this-happens-then-this-happens quality that defiantly eschews psychological shading.
  16. Chicken for Linda!
    However pleasurable and pretty Chicken for Linda may be in its individual scenes, it doesn’t so much achieve harmony through its balancing of contrasting elements as it fully surrenders to childlike whimsy.
  17. In the Heights
    Consistently surprising and creatively fearless, John C. Chu’s film brings monumentality to a work of infinite heart.
  18. Fire of Love
    The film oscillates between the playfully on the nose and the existentially profound with the confidence of a volcano chaser surfing on a river of lava.
  19. Blood Simple
    There's a simple magnetism inherent in this kind of filmmaking, and the Coens know how to orchestrate it.
    • 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.
  21. Hamnet
    Though Hamnet is concerned with bottomless grief and the unique power of art to express the inexpressible, it can’t help but telegraph its themes loudly and incessantly, its emotional register off-puttingly monotonous.
  22. The Witch
    The reworking of a tired horror trope into a transformed feminist symbol stands out as an impressive act of genre revisionism.
  23. Looper
    As in the very best Anthony Mann and John Ford westerns, Looper at once understands the visual power of violence and is deeply critical of it.
  24. Graduation
    Cristian Mungiu's film is more than just a cry of despair toward the hopelessness of life in modern-day Romania.
  25. Kubo and the Two Strings
    It offers a powerful metaphor for the manner in which we carry the memories of our departed inside ourselves.
  26. Aliens
    Cruder than the original, Aliens is a distinctly greedy mega-production.
  27. The Other Side of Hope
    The Other Side of Hope fulfills the vague sense of its aspirational title as a film limited in scope and led only by the guidance of its maker's skeptical positivity.
  28. The Vast of Night
    Director AndrePatterson never breaks the film's incantatory spell with pointless freneticism, patiently savoring the great thrill of genre stories: anticipation.
  29. You Were Never Really Here
    Lynne Ramsay's You Were Never Really Here could be considered artsy exploitation, a film whose formal dexterity belies its debts to its chosen, and quite squalid, genre.
  30. Homo Sapiens
    A real yet illusory world is evoked so seamlessly that it also feels just one step away from pure cinematic fiction.
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