Slant Magazine's Scores

Select another publication »
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 6.3 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
view
per page
  1. Angels Are Made of Light
    The film is an intimate portrait of a nation terminally anxious about who will see fit to rule it next.
  2. The Endless Summer
    True to its title, The Endless Summer exudes a blissful, mellow buzz that could easily be misconstrued as lazy or innocuous filmmaking.
  3. Rams
    Every moment in writer-director Grímur Hákonarson's strange and wonderful film is imbued with mystery and revealing dignity.
  4. The Waldheim Waltz
    Despite Beckermann’s contemplative, even-tempered tone, The Waldheim Waltz gradually builds outrage at the subterranean persistence of fascism in postwar politics.
  5. Nuts!
    Throughout, director Penny Lane strings together telling incidents and anecdotes with a light touch.
    • 82 Metascore
    • 100 Critic Score
    Repo Man
    Pressed, it’s hard to think of five American studio pictures as original as Repo Man. The utter weirdness of Alex Cox’s remarkable debut—a document of L.A.’s hardcore punk scene that’s also an ode to its car culture, a critique of the American middle class, and a kind-of sci-fi comedy about a radioactive Chevy Malibu—would seem to preclude its existence.
  7. Challengers
    Challengers is an intoxicating showcase for the beauty and excitement of bodies in motion.
  8. Pig
    Nicolas Cage, in full martyr mode here, seems to get off on the perversity of, well, caging his brand of operatic hysteria.
  9. Marjorie Prime
    Mapping the intersection between history and emotion, Michael Almereyda finds himself in Alain Resnais terrain.
  10. Sorry We Missed You
    It’s difficult to imagine a more socially engaged or powerful condemnation of the exploitative gig economy than Ken Loach’s latest.
  11. Sisters with Transistors
    Much of the film’s power comes from a series of deft, often wry juxtapositions between video and audio.
  12. Lost Course
    What distinguishes the film from ordinary journalism, and what constitutes its intervention in reality, is a difference in timescale.
  13. Steve Jobs
    The screenwriter's signature verbal-diarrhetic dialogue allows for a nonstop blaring of actorly chops that, like the movie at large, is nothing if not committed.
  14. Marley
    The bloat and heft of Marley's narrative scope leaves the viewer awash in a sea of historical "facts" with very little sense of the human experience behind the curtain of celebrity.
    • 82 Metascore
    • 88 Critic Score
    Le Havre
    For Carl Dreyer, to film a miracle took a single shot; for Bruno Dumont, a whole film. In Le Havre, Aki Kaurismäki needs four shots to capture his - and what an ordinary event it is!
  16. The Holdovers
    The Holdovers is ultimately a story about the absence of family, and as it watches three individuals come together and apart, it’s subtly attuned to the way that class constricts people’s lives.
  17. From Ground Zero
    The film is a stirring testament to art as a tool of survival, to the power of community art-making to affirm life in the face of omnipresent death, and to a nationless people’s desire to be seen by and engage in dialogue with the community of nations.
  18. To Be Heard
    This arc may sound particularly familiar on paper, but To Be Heard finds the unique passions and heartaches in all three stories, allowing the viewer to become invested in whatever outcome befalls each subject.
  19. Araby
    A carefree life on the move is steadily and exquisitely overtaken by melancholy in writer-directors João Dumans and Affonso Uchoa’s Arábia, the portrait of a meandering journey fueled by song, anecdote, and landscape that zeroes in on the pressures of contemporary Brazil almost in passing.
  20. Sound of Metal
    Darius Marder’s film captures, with urgency and tenderness, just how enticing the residue of the past can be.
  21. Embrace of the Serpent
    Ciro Guerra's excesses in arthouse symmetry tend to arrive in the service of a just and angry correctivism.
  22. Under African Skies
    It does lightly suggest scintillating questions about the responsibility artists have in reflecting current political moments in their music.
  23. Exhibiting Forgiveness
    True to its name, the film puts the concept of forgiveness on display and asks us to spend some time in front of it and consider it from all angles.
  24. The Lodger: A Story of the London Fog
    A showcase for director Alfred Hitchcock’s intense study of the German Expressionist movement, The Lodger: A Story of the London Fog boasts artfully animated intertitles, plunging shadows, and oppressive camera angles.
  25. Da 5 Bloods
    Lost in so much bombast is the kind of story about its main characters’ lives that could’ve affirmed Spike Lee’s critique of America.
  26. Side by Side
    A serviceable primer on the digital-celluloid divide in commercial cinema, if a bit unwieldy in scope and in danger of being made obsolete by the next version of the RED camera.
  27. The Last Black Man in San Francisco
    The film simultaneously announces itself as an expressive portrait of a city, an endearing ode to male comradery, a leisurely paced hangout flick, an absurdist comedy, and a melancholic reflection on gentrification and urban black experience.
  28. Isle of Dogs
    Anderson is clearly a massive talent working, again, in his prime. However uncomfortable, it's crucial to ask what gives him the right to romp around in all these signifiers in service of bespoke whimsy—but then the word for it isn't “right,” but rather privilege.
    • 82 Metascore
    • 88 Critic Score
    Mysteries of Lisbon
    A marvelously elastic storyteller, a dry wit, and a Rivettean anti-determinist, the Chilean auteur Raúl Ruiz is fascinated by narratives that dilate from within, images seemingly full of secret passageways, and fabulists who collect tales like toys.
  30. Flamenco, Flamenco
    It's as if Carlos Saura were calling the bluff of spectacle-oriented narrative cinema that necessitates excusing its excesses with characters and plotting.
Page:

Top Trailers

See all »
See all trailers »