Slant Magazine's Scores

Select another publication »
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
view
per page
    • 75 Metascore
    • 88 Critic Score
    The Landlord
    With so many brilliant collaborators and points of view, whose movie—whose dream—is it anyway? Ashby seems to say it’s all of ours.
  2. The Mountain
    For all its emotional restraint, Rick Alverson’s film builds to a point of remarkable pathos.
  3. The Other Side of the Wind
    The Other Side of the Wind isn't a novelty item, but a work of anguished art that's worthy of its creator.
    • 83 Metascore
    • 88 Critic Score
    Being There
    Elegiac and yet ruefully funny, Hal Ashby’s Being There is at once a profoundly philosophical fable about how we become truly human only in the face of our ineluctable mortality, as well as an incensed satire intent on skewering the mass media’s unhealthy sway among the corridors of wealth and power.
  5. Strangers on a Train
    Strangers on a Train is also simply a great thriller, yet another illustration of Hitchcock’s awe-inspiring ability to convey more with a single image than most directors can with minutes upon minutes of belabored set pieces.
  6. Dragged Across Concrete
    With his latest, S. Craig Zahler doubles down on the best and worst elements of the pulp film.
  7. Hotel by the River
    A story of a poet, Hotel by the River comes to resemble a poetry collection itself, abounding in emotional currents and grace notes that are bracingly allowed to hang, free of reductive explication.
  8. A Family Tour
    Ying Liang’s film is righteously and vigorously angry about injustices committed by the Chinese government.
  9. Dead Souls
    The anguish expressed and experiences described by the survivors certainly can overlap with each other, and even become repetitive, but it’s ultimately this unification of perspective that gives Dead Souls its authority—and that allows it to become an incisive reappropriation of collectivist solidarity.
    • 73 Metascore
    • 88 Critic Score
    Rope
    A crime for most, a privilege for some is how Rupert classifies murder, but Hitchcock's eye-am-a-camera technique in Rope is after more than Nazi-superman residue still lurking after WWII.
  11. High Flying Bird
    Steven Soderbergh’s film considers modern media as a vehicle for revising white patriarchal capitalism.
  12. Over the Limit
    The film is composed of minutely observed moments that Marta Prus has assembled into an affecting narrative.
    • 71 Metascore
    • 88 Critic Score
    Piranha
    Dante makes films that Spielberg’s id might make, movies that double down on pop cultural know-how and riotous thrills without pausing for anything so unentertaining as an earnest assessment of humanity.
  14. Dumbo
    In its scant 64-minute running time, the big-top melodrama of Dumbo reduces me to a blubbering, mucus-drizzling wreck at least once with every viewing.
  15. The Waldheim Waltz
    Despite Beckermann’s contemplative, even-tempered tone, The Waldheim Waltz gradually builds outrage at the subterranean persistence of fascism in postwar politics.
  16. Life and Nothing More
    Antonio Méndez Esparza crafts a revealing portrait of life as lived under a regime of race and class oppression.
  17. Pinocchio
    Pinocchio redeemed Disney from the parlor trickery of Snow White and suggested animated features could indeed dance without strings.
  18. A Bread Factory Part One: For the Sake of Gold
    Wang’s particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles, and here he manages to defend the importance of art, attack the neoliberal devastation of cultural liberalism, and argue for the renewed public commitment to the arts from a wryly comic perspective that eschews sentimentality.
  19. A Bread Factory Part Two: Walk With Me a While
    Patrick Wang's particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles.
  20. The Grief of Others
    This a much leaner film in terms of narrative incident than In the Family, though it paves the way for Patrick Wang to step into new artistic terrain.
  21. Alice in Wonderland
    Of course, Alice in Wonderland has long been the Disney film of choice in the realm of drug cinema, but this radical and ridiculous trip through a bombastically colored otherworld imparts a balanced wisdom that goes beyond bong-rip philosophizing.
  22. Cinderella
    Thematically, Cinderella preaches something far more easily tangible and relatable to the everyday than a flying elephant, romantic pooches, or mining dwarves: respect and understanding for hard work and those who tirelessly labor with no need for false praise or special consideration.
  23. 101 Dalmatians
    Cruella De Vil is so much a tour de force that she single-handedly snatches the movie away from any retroactive comparisons to the likes of The Rescuers or Robin Hood or any of the other post-classical Disney features whose sloppiness is their only saving grace.
  24. Amazing Grace
    It offers a profound glimpse of one of the greatest and most influential voices in modern music.
  25. Fantasia
    It’s unquestionably among Disney’s masterpieces.
  26. Cruising
    Its truly unnerving quality is that its existence is a brutal reminder from the past that homosexuality is not heterosexuality, and that any attempt to reconcile the difference will only breed resentment, confusion, and violence. Or perhaps it will only lead to more lame Hallmark movies of the week like Brokeback Mountain.
  27. Alice Sweet Alice
    Alice, Sweet Alice conflates the angst of adolescent sexual development with the fury of Catholic retribution, suggesting at times an analog version of David Fincher’s Se7en.
  28. Paris, Texas
    Paris, Texas may be missing a crucial piece of authentic Americana, but it still evokes an America most Americans yearn to gaze on. An America as thorny and carnivorous as a hawk talon, as raw and smug as a downtown mural, and as sweetly enigmatic as a vacant lot that doesn’t—that can’t—exist.
    • 62 Metascore
    • 88 Critic Score
    Totally F***ed Up
    The total lack of pity and condescension carries the film over its rough spots and aimless patches. The endings of the director’s Teen Apocalypse Trilogy (of which Totally F***ed Up is the first part) may seem utterly desolating, yet they all move toward a rejection of negativism in favor of the harsh but inescapable complexities of the world. Life is f***ked up, Araki is saying, but it is worth living.
  30. Fyre
    Chris Smith’s documentary about the 2017 Fyre Festival implosion resists the urge to revel in cheap social media schadenfreude.
Page:

Top Trailers

See all »
See all trailers »