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. Fabian: Going to the Dogs
    Its characters are suffused with a paradoxical kind of fear that can only happen in a dream, the dread before an immense catastrophe that’s unavoidable because it’s already happened.
  2. White Hunter Black Heart
    White Hunter, Black Heart finds Eastwood reaching a peak in the fields of both film direction and acting.
  3. Friends and Strangers
    The film’s tonal and situational shapeshifting doesn’t go to the surrealist lengths of Luis Buñuel’s The Discreet Charm of the Bourgeoisie, but James Vaughan similarly indulges in burlesquing upper-middle-class complacency.
  4. All Light, Everywhere
    Theo Anthony’s film is a playful, enraging, free-associative cine-essay that both expands and eats itself alive as it proceeds.
  5. Red Rocket
    Sean Baker is dedicated at the same time to the material realities of being poor in the United States and to the irreverent artificiality of snap zooms, smash cuts, and unexpected music cues.
  6. The Velvet Underground
    Todd Haynes’s documentary excitingly captures an era’s explosion of creativity, one that bespoke new and challenging kinds of freedom.
  7. The Worst Person in the World
    The film may be the prime example of how to restore fun, significance, and even a little bit of sex to the well-worn terrain of the romantic comedy.
  8. Petrov's Flu
    Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia, or its Soviet past festering just beneath the surface.
  9. Ali & Ava
    Ali & Ava once again showcases Clio Barnard’s uncanny ability to capture the insoluble complexities of life.
  10. In Front of Your Face
    The film is an obsessive rumination on the little squabbles and inconveniences and pleasures that add up to the bulk of our lives.
  11. Parallel Mothers
    The film is a ghost story as well as a story of transference, which Pedro Almodóvar understands to be one in the same.
  12. The Friends of Eddie Coyle
    Mitchum doesn’t remotely overshadow the film’s first-rate ensemble of character actors.
  13. The Rescue
    Aside from being a thrilling account of a hair-raising rescue, Elizabeth Chai Vasarhelyi and Jimmy Chin’s documentary attests to living a calling.
  14. Dug Dug
    The film is marked by an empathetic understanding of the inkling of belief that can be exhumed from even the most rational of minds.
  15. Benediction
    Terence Davies’s film is a rhapsodic portrayal of an upper-crust milieu in which words are wielded like weapons by people who might otherwise be pariahs.
    • 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.
    • 80 Metascore
    • 88 Critic Score
    Arrebato (1979)
    Arrebato is an arresting feat of self-aware filmmaking, lashing together experimental tendencies with the tropes and trappings of genre cinema.
    • 71 Metascore
    • 88 Critic Score
    Dead & Buried
    With eerie atmosphere to spare, and an emphasis on communal terrors and long-buried secrets, this surprisingly wistful film hews closer to folk horror, suggesting Robin Hardy’s The Wicker Man by way of Willard Huyck and Gloria Katz’s Messiah of Evil.
  19. Great Freedom
    In Great Freedom, the question of love is refreshingly never too far from bodily intimacy, irrespective of what kind of love that is.
  20. Dune: Part Two
    Denis Villeneuve’s film, like its predecessor, offers an object lesson in the visual splendor made possible by meticulously storyboarded minimalist maximalism.
  21. Nightmare Alley
    Edmund Goulding’s Nightmare Alley viscerally understands the lurid appeal of carnivals and acts of illusion.
  22. Everything Everywhere All at Once
    The film works magic by embracing excess, finding a kind of harmony and possibility within it, and reminding us of the beauty and lunacy of the human experience along the way.
  23. Kimi
    The film extend into impactful hyperbole the tensions inherent in the situation of being subjects of and subjects to incessant surveillance.
  24. Watermelon Man
    Gradually, Van Peebles turns stereotypical images of postwar bourgeois prosperity against themselves, leading to a denouement that feels oddly empowering in its total alienation from the status quo.
  25. Sansho the Bailiff
    There’s a reason Sansho the Bailiff is often greeted by critics and audiences with something akin to rapture: It’s a work that divorces the existential riddles of faith from regimented dogma, favoring instead the practical challenges, contradictions, and ambiguities of life as it’s often lived.
  26. Guillermo Del Toro’s Pinocchio
    The film is marked by wild flashes of invention, all born of painstaking craft and devotion.
  27. Coma
    A heady rush of ideas, the film’s avant-garde mélange of live-action footage, abstract video art, and multiple kinds of animation just barely masks that it’s a rather simple story about a Zoomer’s inner struggle with both her own mortality and that of the world.
  28. Both Sides of the Blade
    The studied ambiguity of what’s going on in Fire doesn’t keep it from often achieving the suspense of an accomplished erotic thriller.
  29. Rimini
    The film fleshes out the perhaps familiar characterizations at its center by tying contemporary wounds to the persistent presence of Europe’s ugly history.
  30. 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.
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