Slant Magazine's Scores

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For 7,769 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: 4,345 out of 7769
  2. Mixed: 1,491 out of 7769
  3. Negative: 1,933 out of 7769
7769 movie reviews
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  1. Good Morning
    This profound film reveals that nothing is below the purview of existential contemplation, even all matters of flatulence, and words as simple as “Good morning” are revealed to contain fathomless multitudes.
    • 79 Metascore
    • 75 Critic Score
    El Cid
    There’s no denying El Cid‘s lucid grandeur as it reaches its famous climax, a simultaneously triumphant and tragic portrait of the warrior as corpse that, like the best of Mann’s work, never neglects the human toll of heroism.
  3. Splendor in the Grass
    Inge’s scenario unravels alarmingly once the two would-be lovers start to drift apart thanks to Deanie’s nervous breakdown and the simultaneous (almost psychically connected) market crash of 1929, but the first half of the film is a tour de force of deferred urges, contortion acts of awkward intimacy, and the thrill of adolescence.
  4. Breakfast at Tiffany's
    Blake Edwards’s discontent-but-charmed portrait of a long-lost New York state of blithe is, like most Blake Edwards films, narratively scattershot but reliably fixated on the cinematic chemistry of social relations in a mod (and post-mod) era, which invariably boil down to genders and the extent to which individuals ascribe to their assigned sex roles.
    • 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.
  6. Yojimbo
    Something of a textbook example of the perfect crowd-pleaser, Kurosawa’s tale is sociopolitical wish fulfillment via archetypal samurai drama, albeit with a twist or three.
    • 72 Metascore
    • 88 Critic Score
    The Guns of Navarone
    Gregory Peck, as Mallory, gives a wonderfully unperturbed performance, outdone only by the versatile coldness and comedy of Anthony Quinn. David Niven is the subservient but stylish chemist Miller, rounding out a film that ranks among the best war movies—for mayhem, fighting and a simple, sanctimonious story about heroism when it’s war at all costs.
  8. Blast of Silence
    Haunting, remote, and workmanlike, Blast of Silence may be the only film I’ve ever seen with a trip on the Station Island Ferry in which I expected a tumbleweed to flit across the deck.
    • 96 Metascore
    • 100 Critic Score
    Breathless
    What remains most striking, and most moving, about Godard’s first feature is its sophisticated yet largely guileless faith in the filmic medium, a cinephilia untainted by smugness or cynicism.
  10. The Misfits
    A perplexing misfire more than a complete dud, The Misfits‘s true legacy remains in the personal histories of those involved with the production rather than in the far more exceptional careers of the artists who brought it to its dull fruition.
  11. 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.
    • 74 Metascore
    • 75 Critic Score
    The Magnificent Seven
    The Magnificent Seven fights an uphill battle in matching the scope and thrills of its source material.
    • 89 Metascore
    • 88 Critic Score
    The Hidden Fortress
    Kurosawa most often did his finest work when combining his idiosyncratic and popular sensibilities into humane, broadly accessible entertainments; it just so happens that The Hidden Fortress remains more unabashedly entertaining than most.
  14. Psycho
    Felt in the full impact of a theatrical screening (with the pleasure of seeing patrons reflexively kick or stiffen at the sight of Miles startled by her mirrored reflection), its power is not just that of a showman’s calibrated scare machine, but of a somber fugue on the trapped 20th-century creatures who inhabit its world, clawing but never budging an inch.
  15. The Bellboy
    The Bellboy clearly sets a standard of self-involvement and examination in Lewis’s work that is so successfully hermetic that it scarcely needs the approval of the audience.
  16. Bells Are Ringing
    It has the unfortunate effect of being a movie that seems stuck on a Broadway stage.
  17. The Apartment
    The tone of The Apartment differs from both those darkly moral movies and the filmmaker’s farces, finding a middle ground of somber tragedy that undercuts the awkward comedy of manners between the characters.
  18. Private Property
    Private Property abounds in inventive low-budget filmmaking while stress-testing a pulpy, dime-store premise.
  19. The Cranes Are Flying
    One of the greatest films of the Soviet era.
  20. The Mummy
    The Mummy is one of Hammer’s classics, cleverly fusing the human pathos of the original Universal film with the creature-centric physicality of the sequels the latter inevitably yielded.
  21. Shadows
    At 80 minutes, its cinematic flash fiction, and a suitable entry point into the lively body of work Cassavetes made.
  22. The Magician
    This piquant control over cinematic grammar doesn’t quite rescue the film from a laughably zombie-tinged climax and an anomalous deus ex machina denouement, but it makes The Magician one of Bergman’s more accessible failures, and collapses any suspicious connection between him and the fretful Vogler.
  23. North by Northwest
    The picture is hugely pleased with itself, but it’s too funny and expertly calibrated to mind in the least. Both Hitchcock and Grant raise relaxed confidence to masterpiece level here.
    • 56 Metascore
    • 75 Critic Score
    Plan 9 from Outer Space
    Plan 9 stands as a testament to sincerity run amok, and as a passionate display of artistic limitations, it’s as glorious as it is flabbergasting.
  25. Anatomy of a Murder
    Preminger had the confidence in his performers and faith in his intelligent viewers: a happy combination.
  26. Wild Strawberries
    Initially, Wild Strawberries appears to be an almost pointedly unsubtle coming-of-age story that’s been goosed with dime-store surrealism and male handwringing masked as intellectual engagement with humankind. But the bluntness is a misdirection that underlines the depth of Bergman’s empathy with his hero as well as his dedication to his real subject, which is the process of mentally freeing oneself from an insidiously limiting self-mythology.
  27. Some Like It Hot
    Magnificently paced and terrifically funny at nearly every turn, Some Like It Hot was imbued with an inherent distrust of capitalism and big business that Wilder regularly expressed in an only slightly covert manner.
  28. Imitation of Life
    The film isn’t only revolutionary for its aesthetic rigorousness but its rare fascination with white America’s difficulty relating to people of color.
  29. Sleeping Beauty
    Just as the film’s gorgeous backdrops suggest characters trapped in suspended animation, the many colorful balls of light that frequently circle their heads hauntingly convey the filmmakers’ idea of fate and love locked in a cosmic struggle.
    • 84 Metascore
    • 75 Critic Score
    My Uncle
    Mon Oncle is not Jacques Tati’s most ambitious film, nor his most democratic. It is quite possibly, however, his most didactic and depressing.
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