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. Seymour: An Introduction
    Ethan Hawke's concentration on Seymour Bernstein isn't a betrayal of his own ego massaging, but rather an attempt to have a genuine soul-bearing conversation.
  2. 56 Up
    The series is both a testimonial to the vagaries of chance and an endlessly cyclical study into the implications of being studied.
  3. I Was a Simple Man
    The film’s quietly uncanny narrative wondrously depicts not only a dying man’s reflection on his life, but also the very nature of Hawaii itself.
  4. Grey Gardens
    Grey Gardens remains one of the greatest and possibly only disaster movies that clearly benefits from not having seen the moments of reaping.
    • 83 Metascore
    • 75 Critic Score
    Burning Bush
    The decentralized narrative benefits from the film's original conception as a miniseries, with plenty of time to draw us into the morass that was the communist state.
  6. Enter the Dragon
    The lack of sentimentality helps focus the viewer on what the film depicts exceptionally well, namely wanton bad behavior and enthralling, wall-to-wall ass-kicking.
  7. Cutie and the Boxer
    Funny, moving, honest, and occasionally inspiring, but as a portrait of a talent emerging from the shadow of a more public talent, the scale of the shadow is curiously omitted.
  8. One Night in Miami
    As much as the film seeks to understand how such major cultural figures navigated a political minefield, it nonetheless never takes its eyes off of its characters as people.
    • 83 Metascore
    • 75 Critic Score
    The Naked Kiss
    It’s Sirk-on-a-shoestring, and twice as cynical.
  10. The Reason I Jump
    The film weaves together the stories of five mostly nonverbal autistic teens to present a rich tapestry of the autistic experience.
  11. Belle
    For all of the film’s visually striking action and musical set pieces, it’s the generosity of spirit with which it approaches the modern teenage experience that’s its most impressive attribute.
  12. Private Life
    Instead of offering a probing, nuanced view of the burgeoning technologies and sciences involved in this relatively new outgrowth of the OBGYN industry, though, Tamara Jenkins uses her setting as fodder for lame and discomfiting physical comedy.
  13. Moonage Daydream
    Brett Morgen is less interested in factual biography than in eliciting a sense of the man as an artist and personality.
  14. Meeting with Pol Pot
    Rithy Panh’s film is hard-hitting yet illusive, much like the story its characters are hunting.
  15. BlacKkKlansman
    Spike Lee styles the film as a popular entertainment, forgoing the theatrical satire typical of his late-period state-of-the-nation joints, like Bamboozled and Chi-Raq, and settling into the accessible rhythms of the contemporary sitcom.
  16. Wallace & Gromit: Vengeance Most Fowl
    There’s an alive-ness that emanates from the characters, in large part due to all those visible fingerprints and indentations on their skins—a tactile counterbalance to a story about humanity’s over-reliance on technology.
  17. Janet Planet
    Annie Baker’s spare dialogue style remains intact, with each line revealing of character and mood.
  18. The Novelist's Film
    The film proves that Hong Sang-soo has yet to exhaust his methods of deriving significance and beauty from the most quotidian of details.
  19. Under the Skin
    Throughout, what truly matters to director Jonathan Glazer is articulating through visual and aural enticement the unconscious power of our death drive.
  20. Red Army
    Gabe Polsky's quiet yet welcome achievement is to allow us to see the individual amid the politics, clearly and sympathetically.
  21. Porco Rosso
    It's in this view of the military life, and competition in general, that Porco Rosso reveals itself to be one of Miyazaki’s most personal works.
  22. The Post
    No American film since Zodiac has exhibited such a love for the way information travels than The Post, but it's nonetheless steeped in self-congratulation.
  23. The Flat
    Accusation is the rhetoric of outrage, and Arnon Goldfinger can't bring himself to experience even conservative anger, regardless of its appropriateness.
  24. Cunningham
    While some individuals are inevitably more compelling than others, as a whole the entire series, and “63 Up” in particular, is completely enveloping as it draws us into the latest happenings of these people we’ve followed for so long.
  25. 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.
  26. Blind
    Unfortunately, the film's occasionally thrilling visual sleight-of-hand comes at the ultimate service of a boilerplate early-mid-life-crisis drama.
  27. 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.
  28. The Day the Earth Stood Still
    Released in the midst of the Korean War and the prime of McCarthy, the film achieved a unique relevance for a “spaceman” movie by unambiguously advocating for peace and grounding its pulp story in social reality.
  29. Footnote
    Joseph Cedar's Footnote is a sour, rather unpleasant affair that hinges on acts of Jews behaving badly.
  30. Being 17
    André Téchiné does justice to the closeness between repulsion and desire, difference and sameness, heterosexuality and homosexuality.
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