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. Tuesday
    This is a film of tremendous emotion, spirit, and paradoxically restraint and ambition.
  2. Girls Will Be Girls
    The film is one that fully recognizes the power of a lingering gaze, a suppressed smile, the slightest movement of the littlest finger, and one which uses them all to maximum effect.
  3. Concrete Valley
    Concrete Valley reveals itself as a thrilling example, both in form and content, of the way that the fostering of community allows us to regain some measure of control over life’s adversities.
  4. Langue Étrangère
    The film finds its profundity in moments where not much is said and nothing is intellectualized, when language is stripped to its bare bones.
  5. Dahomey
    Mati Diop’s captivating, fabulistic documentary Dahomey confronts the reality of how modernity has been shaped by the West’s theft of cultural heritage.
  6. No Other Land
    With exceptional lucidity, No Other Land reminds us of the human stakes of Israel’s resettlement of the West Bank, and that fighting for justice starts from the ground up.
  7. The Wild Robot
    The film’s discernible brushstrokes serve as a reminder of the literal hands, the labor, it takes to raise someone, mold them into a survivor, and to carry love with you wherever you go.
  8. Dying
    The film’s diligent script and nuanced performances are such that the depressing material stops short of turning into a depressing experience.
    • 69 Metascore
    • 88 Critic Score
    Messiah of Evil
    Willard Huyck and Gloria Katz’s eerily brooding Messiah of Evil remains an undervalued gem of American gothic filmmaking.
  10. Grand Theft Hamlet
    Grand Theft Hamlet excels at blurring the line between low and high art.
  11. West Indies: The Fugitive Slaves of Liberty
    Med Hondo’s is a bravura spectacle of intellectual and cinematic daring.
  12. Slow
    Slow steadfastly remains a character-driven piece, homing in on the intricacies of its protagonists’ psychologies and engaging with their subtle emotional shifts as they become more intimate with one another.
  13. Nickel Boys
    RaMell Ross’s remarkable film finds an expressive power in formally adventurous technique that fashions mesmerizing, cumulatively affecting poetry out of Colson Whitehead’s prose.
  14. All We Imagine as Light
    Writer-director Payal Kapadia has created an exceptional document of a city and its people.
    • 82 Metascore
    • 88 Critic Score
    Grand Tour
    If Tabu locates the colonial mindset in madness and obsession, Grand Tour does so in cowardice and obliviousness.
  16. Christmas Eve in Miller's Point
    In Christmas Eve in Miller’s Point, holiday tropes born of life and movies alike are exaggerated, parodied, celebrated, and compressed to suggest how our idea of Christmas is a river of memories real and imagined.
  17. All That Heaven Allows
    The frothy May-September (well, closer to June-July) romance All That Heaven Allows is the fountain from which directors as disparate as Rainer Werner Fassbinder, Todd Haynes, and John Waters have all drunk, marking it as the most influential of the 20-plus films Sirk directed during the 1950s.
  18. Viet and Nam
    Truong Minh Quy’s new queer romance-cum-sociohistorical lament mines beauty from both collective desolation and individual endurance.
  19. The Devil's Bath
    Veronika Franz and Severin Fiala depict Agnes’s plight with empathy but with a horror maven’s sense of ratcheting unease and encroaching doom.
    • tbd Metascore
    • 88 Critic Score
    July Rhapsody (2002)
    Ann Hui’s investment in her characters and their passions bleeds through every frame.
  21. No Fear, No Die
    As with Claire Denis’s previous Chocolat, emphasis is placed both on how the French legacy of colonialism persists into the present, as well as how Black men are often filtered through the white imagination to ruinous ends.
  22. Sullivan's Travels
    Preston Sturges jammed volumes of sociological concerns into a 90-minute satire with Sullivan’s Travels, Hollywood’s greatest comedy.
  23. By the Stream
    Art is a mode of potential connection built in large part on narcissism, and Hong Sang-soo is without peer these days in wrestling that irony onto the screen.
    • 88 Metascore
    • 88 Critic Score
    Hard Truths
    Even at its funniest, Hard Truths finds Marianne Jean-Baptiste channeling an anger that feels excruciatingly real.
  25. Trafic
    If Playtime’s enormous scope was visionary, here Tati’s tone is that of a bemused, unshakably certain philosopher.
  26. Youth (Homecoming)
    Throughout his trilogy, Wang Bing’s modus operandi has been expansion through repetition, a recursive exploration of similar spaces that nevertheless exhibits differing emotions, concerns, and personalities.
  27. Sinners
    Sinners is one of the most distinctive, confident mainstream films of the modern era, but it nonetheless leaves an audience with the tacit reminder of the limits of art to set one free in a system that profits as much off its exploitation as that of manual labor.
  28. The Cranes Are Flying
    One of the greatest films of the Soviet era.
  29. The Visitor
    The Visitor ultimately posits a vision of transcendence through anarchy, seeing repression as the enemy of social progress.
    • 74 Metascore
    • 88 Critic Score
    Frankenstein Must Be Destroyed
    Right from its stylish and violently kinetic opening, Frankenstein Must Be Destroyed establishes itself as one of the finest of the seven entries in Hammer’s Frankenstein cycle.
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