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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    • 86 Metascore
    • 88 Critic Score
    Desire
    When Dietrich sings the Friedrich Hollander/Leo Robin song “Awake In A Dream” to Cooper, her purring, off-key voice envelops us in a world of addictive movie fantasy, presided over by two very different masters locked in a tantalizing creative affair.
  2. Destry Rides Again
    Above all, Destry Rides Again is fun, with a variety of stars and character actors utilizing their charisma with an expert sense of ease and offhandedness.
  3. Time
    It reminds us in eminently cinematic ways that behind the numbers and procedures of a court case are actual lives existing in actual, human time.
  4. The Mole Agent
    That Maite Alberdi’s camera itself is present in The Mole Agent as a quasi-ethical concern suits the way Sergio, as he shuffles through the home’s hallways, gradually comes to be uncomfortable with his own surveillance.
  5. Space Dogs
    The film draws us through its play toward darker, too-seldom-considered sides of human and doggy nature.
  6. Hopper/Welles
    Orson Welles and Dennis Hopper both understand that cinema’s inherent fakeness is the wellspring of its importance and its danger.
  7. David Byrne’s American Utopia
    American Utopia feels as much like a balm as it is a surprisingly direct call to political action and social betterment.
  8. Notturno
    The film’s experiential approach emphasizes that the fragments of life it captures aren’t impersonal events on a timeline.
  9. Bob Dylan: Dont Look Back
    Even 48 years after its release, and well into Dylan’s current phase of relative transparency, D.A. Pennebaker’s Dont Look Back retains something of a forbidden quality, a feeling that we shouldn’t be privy to the things it shows us.
  10. City Hall
    Its provocations can seem savage at a glance, but they emerge from an observational tranquility that is uniquely Frederick Wiseman’s own.
  11. The Disciple
    Chaitanya Tamhane gives full dimension to the rich, complex, and sometimes contradictory nature of the relationship between disciple and guru.
  12. Never Gonna Snow Again
    With Never Gonna Snow Again, Malgorzata Szumowska presents a charm against apocalyptic despair but also willful ignorance, insisting that, with sufficient imagination, we can face a climate crisis of our own making.
  13. Preparations to be Together for an Unknown Period of Time
    Lili Horvát’s film delights in wallowing in ambiguity, contradiction, and doubt.
  14. My Man Godfrey
    La Cava’s supple but cutting romantic comedy is one of the finest works of class-conscious comedy in Hollywood history.
  15. Husbands
    One of Cassavetes’s greatest and most daring films.
  16. Dating Amber
    Dating Amber rather seamlessly strips itself of its hyperbolic affectations to reveal a heartbreaking story of emancipation through friendship.
  17. Ham on Rye
    The film’s purposeful archness challenges the sentimentality that marks many a film and real-life ceremony.
  18. Identifying Features
    The film is as much about the act of seeing and observing as it is about not seeing, about struggling to recognize that which might not clarify much at all.
  19. Meet Me in St. Louis
    Vincente Minnelli’s most acclaimed musical, Meet Me in St. Louis is a fresh breath of stale air, a tart ode to nostalgia.
    • 62 Metascore
    • 88 Critic Score
    Twins of Evil
    Twins of Evil benefits considerably from seasoned performances by a veteran cast that includes genre icon Peter Cushing, Dennis Price, and Kathleen Byron.
  21. Furiosa: A Mad Max Saga
    The film attests to George Miller’s enduring aptitude for utilizing the ridiculous to achieve the sublime.
  22. Bitter Moon
    As easy as it would be to make rude connections between the film’s raunchy shenanigans and Polanski’s own history, the fact is that Bitter Moon doesn’t feel like either an explanation, an apology, nor a defense of the kinky sexual games adults play. Think of it as Polanski’s Who’s Afraid of Virginia Woolf.
    • 98 Metascore
    • 88 Critic Score
    The Lady Vanishes
    In less skilled hands, the film’s slow start would be a problem. Thanks to thrilling visuals and an effortless performance by Redgrave, Lady Vanishes is a lively companion piece to Hitchcock’s other magnificent British-made hit, The 39 Steps, about an innocent man mistaken for a spy.
  24. In the Same Breath
    In Wang Nanfu’s extraordinary documentary, contemporary political structures are as much of a disease as Covid-19, and, in the long run, the deadlier foes.
  25. El Planeta
    Amalia Ulman’s film is a bittersweet comedy of human behavior observed with a relaxed yet intently focused eye.
  26. Lost Course
    What distinguishes the film from ordinary journalism, and what constitutes its intervention in reality, is a difference in timescale.
  27. I'm Your Man
    The film’s disarming romcom sensibilities are an unlikely yet fitting vehicle for timely ruminations on AI.
  28. Introduction
    The film is a modern melodrama of grit, beauty, jagged edges, and resonant dead ends and false starts.
  29. Petite Maman
    The film evinces Céline Sciamma’s profound knack for visual economy, communicating much with silent looks and structured absences.
  30. Wheel of Fortune and Fantasy
    Ryûsuke Hamaguchi’s film is an alternately scathing, erotic, terrifying, and affirming fable of the primordial power of storytelling.
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