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. Maelstrom
    Maelström earns its haunting, unpredictable ending, never exaggerating Evian’s moral dilemma. Still, without non-stop techno or the existential overtones of a Kieślowski morality tale, Maelström is just another Winter Sleepers.
  2. Ali
    Ali‘s narrative laxness comes at the fault of boxing time (a good one-third of the film’s three-hour time span is spent inside the ring). You say: But Mann knows how to direct a fight. But I say: So what?
  3. The Devil's Backbone
    With The Devil's Backbone, Del Toro pulls an Amenábar by dishing out sophisticated war commentary with bone-chilling dread.
  4. Mulholland Dr.
    Mulholland Drive is a haunting, selfish masterpiece that literalizes the theory of surrealism as perpetual dream state.
  5. Apocalypse Now Redux
    With its view of Vietnam as a colonial mud pit being raped by a post-rock generation, it’s as aimless as it is prescient. Coppola’s subjective use of technology (pathologically integrating operatic image and sound) evokes war as a psychedelic fugue state: timeless, horrifying, and affecting us all.
  6. Ghost World
    Ghost World is a beautiful evocation of the ghostly nature of love, loss, and ultimately memory itself.
    • 54 Metascore
    • 75 Critic Score
    Downtown 81
    This time capsule of bohemian New York distorts its representation of the city for reasons more loving than lazy.
  8. Barking Dogs Never Bite
    Bong's debut is not all it could be, but any film that has a line as hilariously warped as "Jesus, that thing's hairy" deserves some recognition.
  9. In the Mood for Love
    In the Mood For Love is ravishing beyond mortal words.
  10. 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.
    • 75 Metascore
    • 88 Critic Score
    Dark Days
    The documentary enables its viewers to confront poverty on a human level by presenting its subjects, for the most part, like anyone else, living lives, despite their socioeconomic difference, relatable to our own.
  12. Close-Up
    Call it what you will (documentary, mockumentary, self-fulfilling prophecy), Close-Up is still the definitive film-on-film commentary.
  13. Perfect Blue
    Satoshi Kon’s Perfect Blue is a prescient vision of a modern world defined by media oversaturation and social media validation.
    • 51 Metascore
    • 0 Critic Score
    Star Wars: Episode I - The Phantom Menace
    It's difficult to discern precisely where this all went wrong, and even more difficult to speculate about possible improvements.
  15. Flowers of Shanghai
    Flowers of Shanghai operates on the whole much like Yoshihiro’s music, filling your senses like a thick haze, holding you rapt without petitioning for your attention.
  16. Fireworks
    It’s a weird experience that Kitano is offering to movie audiences: We thrill to the violent, heroic exploits that leave many a pierced eyeball, many a severed limb, many a bullet-riddled corpse, but we find uplift in his celebration of community, music, dance, light, color, and companionship.
  17. Funny Games
    Haneke's admonishments are disturbing only in the sense that they're never self-critical, and while watching one of his films, there's always a sense that he thinks he's above his characters, his audience, and scrutiny.
    • 71 Metascore
    • 88 Critic Score
    The Big Lebowski
    There are few films that genuinely get better with each successive viewing. The Big Lebowski is one of them. This is owed not only to its near-infinite quotability, which itself grows with time, given how much of the film’s humor is self-referential, but also because its tangled plot requires a substantial amount of unraveling before it can be fully understood and appreciated.
  19. Sick: The Life & Death of Bob Flanagan, Supermasochist
    The title alone of Kirby Dick’s alleged documentary Sick: The Life and Death of Bob Flanagan, Supermasochist practically screams: This is not your standard biopic!
  20. Nenette and Boni
    A sibling drama of unsentimental urban grit and swooning lyricism, Nénette and Boni meditates on the myriad permutations of love and sensuality, from familial longings to food fetishes.
  21. Underground
    Underground is a unique blend of lowbrow slapstick and sophisticated war commentary, earning it well-deserved comparisons to Ernst Lubitsch’s brilliant To Be and Not To Be (possibly the funniest movie ever made) and the films of Abbott and Costello.
    • 80 Metascore
    • 88 Critic Score
    Irma Vep
    The post-modern compulsions on display here may bring movies together, but they also keep people apart. Irma Vep is a picture of missed connections and tenuous relationships, most touchingly in the scenes between Cheung and Zoe (Nathalie Richard), her smitten costume designer.
  23. The Watermelon Woman
    It's a film of such multitudinous interests and storytelling pursuits that its unfolding replicates the ecstasy of newfound romance.
  24. Cyclo
    An extraordinarily imaginative director, Tran fashions Cyclo into a sensualist nightmare.
  25. The Cable Guy
    The director, who intermittently shows up on Steven’s television as Stan and Sam Sweet, a hybrid of O.J. Simpson and the Menendez brothers, shoots all of this with verve and fluidity to spare, though he succeeds most commendably in framing and editing his star’s physical antics.
  26. Mission: Impossible
    Unlike most action films, Mission: Impossible's distinct appeal operates not so much on suspense but on improbability.
  27. Dead Man
    Dead Man is likely Jim Jarmusch’s most stunning achievement.
  28. Mystery Science Theater 3000: The Movie
    In the theater, whenever Mike, Crow or Tom Servo flub a punchline or resort to a fart joke, you almost want to lean forward and shush them.
  29. James and the Giant Peach
    Though certainly not a travesty of any sort, James and the Giant Peach does strike me as the weakest thus far of Dahl’s to-screen adaptations and this mostly has to do with the problems Selick encounters with mixing the world of imagination with the real world.
  30. Dekalog (1988)
    The biblical root of the [Dekalog] may suggest didacticism on its face, but whatever morals are advanced are decidedly ambivalent.
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