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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    • 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. A Man Called Horse
    Touted at the time of its release as a comparatively enlightened western, A Man Called Horse now looks like well-researched sensationalism—and is, admittedly, all the better for it.
  3. Mandabi
    Through it all Sembène maintains a steady, humanist touch.
  4. The Boys in the Band
    The sizzle of the bon mot-tossing ensemble, intact from the stage original, is bracing and fuels the film’s momentum, along with Crowley’s lacerating dialogue.
    • 74 Metascore
    • 88 Critic Score
    Frankenstein Must Be Destroyed
    Right from its stylish and violently kinetic opening, Frankenstein Must Be Destroyed establishes itself as one of the finest of the seven entries in Hammer’s Frankenstein cycle.
  6. The Honeymoon Killers
    The Honeymoon Killers is an intense, terrifying portrait of repression and instability.
  7. Hello, Dolly!
    The choreography, the performances, the set decoration, the dialogue, everything about Hello, Dolly! is played directly to the back row of the theater, which would be fine on the stage, but on anamorphic widescreen close-ups tends to be more frightening than mirthful.
  8. Z
    Forty years on, it’s still an eye-catching, fast-paced watch, but the plaudits it won as an uncompromising thriller and landmark cinema seem as shaky as the film’s villainous military officers’ insistence that its central murder was an accident.
  9. Duet for Cannibals
    Susan Sontag’s debut film serves as an intriguing cinematic extension of her more well-known written work.
    • 89 Metascore
    • 75 Critic Score
    Downhill Racer
    In scenes such as the anti-hero’s visit to his resentful father (“World’s full of them,” the old man snaps of his son’s desire to become a champion), Downhill Racer stands as lean condemnation of the calculating underdog clichés Rocky would bring make the norm.
  11. The Sterile Cuckoo
    Alan J. Pakula’s directorial debut takes a done-to-death story template and revitalizes it with intelligence, maturity, and tenderness.
  12. The Italian Job
    The Italian Job isn’t the first movie to take car chases into strange and new environments, but it sure is creative.
    • 87 Metascore
    • 100 Critic Score
    Medium Cool
    Medium Cool stages, not so much with voguish nihilism, despite its demonstrably downbeat ending, as dispassionate vérité straightforwardness, the growing pains that strain a nation when the countercultural ideal of limitless possibility matures into something closer to political reality.
  14. Easy Rider
    This legendary tale of a motorcycle odyssey gone wrong remains timeless for its diagnosing of the early stages of a social ennui that has now fully bloomed.
  15. Salesman
    An immersive drama that bridges real-life details with the catharses of parables with expressionistic on-the-fly camerawork, a blend of the textural and the poetic that’s hallucinatory and profound.
  16. Dracula Has Risen from the Grave
    Director Francis films the scenes that center around the vampire with yellow-brown gels around the frames’ edges, giving the impression that they too are from Dracula’s omniscient view. They give Dracula Has Risen From the Grave a musty, jaundiced sensuality (like finding Great Aunt Mildred’s mothball stank-ridden garter belt hidden in the back of her Victorian closet) that characterizes Hammer’s blending of gothic tradition with modern prurience.
  17. Black Girl (1966)
    Decolonization in Black Girl isn't only a myth, but also a myth that actually strengthens the consumerist caste systems.
    • 90 Metascore
    • 100 Critic Score
    Red Beard
    The best of Kurosawa’s films are a challenge to look into our greatest fears and at our most terrible afflictions, whether personal or systemic, without turning away. Arguably the best Kurosawa film, Red Beard does not turn away.
  19. Faces
    Cassavetes didn’t improvise, and Faces was scripted, but many of the film’s scenes still have the feel of conversations happening right in front of you, with all the imperfections and digressions and looseness of the everyday.
    • 51 Metascore
    • 75 Critic Score
    Barbarella
    A rambling, shaggy-dog structure as an excuse to flagrantly foreground softcore sexual hijinks tinged with a pungent whiff of social commentary.
  21. Night of the Living Dead
    A stark, eerie and unrelenting parable of dread. There’s a brute force in Night of the Living Dead that catches one in the throat.
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