Slant Magazine's Scores

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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 6.4 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: 4,346 out of 7772
  2. Mixed: 1,493 out of 7772
  3. Negative: 1,933 out of 7772
7772 movie reviews
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    • 93 Metascore
    • 88 Critic Score
    Two Seasons, Two Strangers
    In beautifully quiet ways, Two Seasons, Two Strangers captures its characters in the realm of the ineffable, making the mundane utterly sublime.
  2. TÁR
    The film is consistently compelling visually and aurally, but neither Todd Field nor Cate Blanchett seem quite decided on whether Tár’s comeuppance is a grand tragedy or a cosmic joke.
    • 93 Metascore
    • 75 Critic Score
    Tristana (re-release)
    There are more than a few striking images and intriguing ideas to be extracted from Tristana. [10 Oct. 2012]
    • 93 Metascore
    • 100 Critic Score
    The Last Picture Show
    Delineates the quiet, desperate lives of the citizens of Anarene, Texas over the course of one year in the early 1950s.
  5. Hard to Be a God
    Aleksei German's final film is choreographed with a Felliniesque social grandeur, but tethered to a neorealist's eye for detail and quotidian matters of social justice.
  6. Do the Right Thing
    Lee deftly follows the actions of two dozen people on what turns out to be one of the longest, hottest, most memorable and maybe most tragic days of their lives. And he does it without so much as a single lugubrious or extraneous moment.
    • 93 Metascore
    • 100 Critic Score
    Top Hat
    Every musical number works, and the mistaken-identity plot is pleasant enough, even if there’s too much emphatic dithering from the supporting players toward the end.
  8. No Bears
    No Bears generally spends less time finding aesthetic articulations of its themes than it does building out an increasingly convoluted plot to support them.
  9. 8½
    8½ works best as a self-deprecating comedy, a fact revealed most forcefully in the folly of film production on display.
  10. 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.
  11. Spotlight
    By modeling its structure so closely after "All the President's Men," Spotlight only draws closer attention to its lack of scope and ambition.
  12. The Band Wagon
    Only musical theater people will plug into this love-fest, breaking their arms patting themselves on the back. That’s entertainment?
  13. Late Spring (1949)
    Few films have expressed, with as much force and lyricism as Ozu’s Late Spring, the various emotions (melancholy, bittersweet joy, impassioned regret, taciturn resignation) associated with the ongoing, perpetual dissolution of “the world as we know it.”
  14. Ikiru
    Ikiru wows for its complicated interrogation (and innovation) of subjective, cinematic experiences of time and memory, but lulls in its commemoration of a wealthy, privileged man who finally decides to care after it’s absolutely confirmed he has no time left to live.
  15. The Wizard of Oz
    A true amalgam of creative forces individually pooling their studio-contract talents like a hive of bees.
  16. Memoria
    Again in a Apichatpong Weerasethakul film, we find spirits lurking behind the everyday world, but in Memoria, they might just be repressed memories emanating from a world that never actually forgets.
  17. Invasion of the Body Snatchers
    This is the most disturbing spin on the invasion premise, because it still permits the simple, classical predator/parasite interpretation, but, at the same time, makes the infiltration total, because the snatchers don’t just take your body, your memories, your brains—they take you. All of you.
  18. Close-Up
    Call it what you will (documentary, mockumentary, self-fulfilling prophecy), Close-Up is still the definitive film-on-film commentary.
  19. Chinatown
    The exhaustive, labyrinthine narrative is built up like a fortress around this film’s bitter heart.
  20. Here
    Bas Devos’s trademark placidity and restraint constitutes a challenge to narrative convention.
  21. BLKNWS: Terms & Conditions
    This hybridized essay film embodies the complications and contradictions inherent within Black history—complete with all its erasures and variances.
  22. The Florida Project
    Sean Baker spends much of The Florida Project charging in vigorously nimble fashion up and down the stairs of the Magic Castle, in and out of its rooms, investing the minutia of the down-and-out lives within this little ecosystem with a bittersweet energy and significance.
  23. Timbuktu
    The film's criticism isn't primarily rooted in satire, but rather in fury and condemnation for those who seek to be gods while shamefully feigning to follow and praise one god.
    • 92 Metascore
    • 75 Critic Score
    Frenzy
    With a very strong cast and sharp dialogue by Anthony Shaffer, Frenzy is easily the strongest of the master’s final works.
  25. Days
    Reciprocity might be impossible in a world rigged against queerness, Tsai seems to say, which doesn’t mean that certain things can't still be shared.
  26. Almayer's Folly
    Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines.
  27. Cool Hand Luke
    Newman remains watchable and glamorous throughout, bloody, muddy or coated in torso-flattering sweat, but the film’s efforts to sentimentally humanize him by psychological revelation are clumsy.
  28. The Act of Killing
    In Joshua Oppenheimer's extraordinary The Act of Killing, film becomes the medium for a bold historical reckoning--and in more ways than one.
  29. De Humani Corporis Fabrica
    Lucien Castaing-Taylor and Véréna Paravel’s film is one of the supreme cinematic examinations of the body’s magnificent malleability.
  30. Apocalypse Now Redux
    With its view of Vietnam as a colonial mud pit being raped by a post-rock generation, it’s as aimless as it is prescient. Coppola’s subjective use of technology (pathologically integrating operatic image and sound) evokes war as a psychedelic fugue state: timeless, horrifying, and affecting us all.
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