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. House
    House has a superb premise that begs for a more ambitious framework, both formally and psychologically.
  2. Midsommar
    A deeply unnerving film about the indissoluble, somehow archaic bond between self and family—one more psychologically robust than Aster’s similarly themed Hereditary. And it’s also very funny.
  3. The Farewell
    The film taps into universal truths about the passage of time, the inevitability of loss, and how we prepare one another for it.
  4. The Last Black Man in San Francisco
    The film simultaneously announces itself as an expressive portrait of a city, an endearing ode to male comradery, a leisurely paced hangout flick, an absurdist comedy, and a melancholic reflection on gentrification and urban black experience.
  5. The Souvenir
    Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.
  6. Nomadland
    By juxtaposing beautiful vistas filled with promise, a rotted social safety net, and the scrappy itinerant workers navigating the space in between, Zhao generates a gradually swelling tension underneath her film’s somewhat placid surface.
  7. The Unicorn
    The documentary illuminates how art and artists live together in a symbiotic existence, each giving as well as taking.
  8. Fourteen
    Dan Sallitt recognizes that even the sturdiest of friendships are inevitably tested by time and the evolution of personal responsibility.
  9. Mr. Jones
    The film is an unnervingly beautiful tribute to the lives lost during the Holodomor, and to the people who have seen the world for what it is, instead of the dream of it they’re instructed to believe.
  10. The Plagiarists
    This is a rigorous film concerned with questions of cultural appropriation, learned behavior, and the very texture of life in our content-saturated present (a feeling not exclusive to urban centers), but one with the good humor and wisdom to disguise itself as something far more familiar.
  11. Two Plains & a Fancy
    No description can do justice to its best moments, which render the absurd and sublime one and the same.
  12. The Eyes of Orson Welles
    The Eyes of Orson Welles honors the central paradox of Welles: that he was a joyful poet of alienation who was, like most of us, both victim and victimizer.
  13. Opening Night
    Opening Night hits closest to home in its long, haunting, tension-fueled riffs between Cassavetes and Rowlands, playing lovers on stage and former lovers off stage.
  14. Valley of the Dolls
    Look, fun is fun, and there’s plenty of the kitschy brand to be had from the riot of late-‘60s production design and lurid plot developments.
  15. Working Woman
    Michal Aviad’s film forcefully brings home a reality that many of us have been aware of only intellectually.
    • 75 Metascore
    • 88 Critic Score
    Django
    In a genre known for endless knock-offs, a trend that includes Django’s 30-plus sequels, Corbucci’s film is notable not only for the artistry of its construction, but also for the underlying anger that fuels its political agenda.
  17. Honeyland
    As the world continues to suffer ever-increasing mass die-offs of honeybee colonies, Ljubomir Stefanov and Tamara Kotevska’s film reminds us that there’s indeed a better way to interact with our planet—one rooted in patience, tradition, and a true respect for our surroundings.
  18. Carmine Street Guitars
    The film celebrates the thingness of things, as well as the assuring clarity and lucidity that can arise from devotion to knowledge.
  19. Nashville
    Stunningly, it isn’t even Altman’s best film (that would be McCabe & Mrs. Miller), but Nashville is still the movie that best embodies everything that was so freeing and generous and deceptively casual about Altman’s art, and it’s the film that best represents him as a uniquely American artist.
  20. Midnight Traveler
    Balancing rough-edge verité with highly composed images and a meticulous structure, it doesn’t preclude itself from finding something like poetry in its subjects’ struggles.
  21. Framing John DeLorean
    John DeLorean has a biography that could have been reverse engineered from a Hollywood epic about the rise and fall of an auto-industry mogul.
  22. Sorry We Missed You
    It’s difficult to imagine a more socially engaged or powerful condemnation of the exploitative gig economy than Ken Loach’s latest.
  23. The Wild Goose Lake
    The film’s masterstroke is that its fugitive antiheroes are framed by an environment that reflects their criminal lives back at them.
  24. Zombi Child
    Bertrand Bonello’s quixotic, slow-burn genre film is political largely in the abstract.
  25. The Cordillera of Dreams
    For Patricio Guzmán, to gaze at the Cordillera is to comprehend the range of history and the possibility of its distortion.
  26. The Garden
    Derek Jarman’s 1990 film isn’t without hope that we can regrow a paradise.
    • 93 Metascore
    • 88 Critic Score
    Stagecoach
    If this is the Old West of our dreams, it’s one that exists in an outsider’s limbo, away from society’s rules, alternating between the breathtaking breadth of the American landscape and the Germanically shadowy lighting of Ford’s claustrophobic interiors.
    • 90 Metascore
    • 88 Critic Score
    The Hustler
    With solid performances, a great jazz score by Kenyon Hopkins, and a virtual clinic in how to do black-and-white cinematography thanks to Eugene Shuftan’s camerawork, The Hustler reaffirms your faith in the movies.
  29. Anatomy of a Murder
    Preminger had the confidence in his performers and faith in his intelligent viewers: a happy combination.
  30. I Do Not Care If We Go Down in History as Barbarians
    Radu Jude’s film is a bitterly comic essay on nationalist mythologies and historical amnesia.
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