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 6.3 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
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  1. Eraserhead
    Eraserhead is an extraordinarily raw film that’s not so much an announcement of its filmmaker’s obsessions, but a complete, intimate, and heartbreaking fulfillment of them.
    • 81 Metascore
    • 100 Critic Score
    To Live and Die in L.A.
    To Live and Die in L.A. exhibits a remarkable degree of kineticism, evident in several memorable chase sequences, the film’s headlong momentum abetted by Wang Chung’s dynamic score.
  3. Deliverance
    Dickey taps into that stark mortal terror of abandoning control, where to become a wild man is somehow a form of connection.
    • 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. Bisbee '17
    The film's epic canvas invigorates Robert Greene, who fuses a procedural documentary, in the key of Frederick Wiseman’s films, with tableaux that wouldn’t be out of place in a horror western.
  6. Gavagai
    Rob Tregenza's film is rooted in the communion as well as the sensorial challenges of savoring art.
  7. Deep Red
    Deep Red is a riveting thriller whose secrets carefully unravel via a series of carefully calibrated compositions that become not unlike virtual gateways into Freudian pasts.
  8. The Philadelphia Story
    Add Hepburn’s persona, beautifully explored here in all its wonder, and Stewart’s likeability, and George Cukor’s sensible, subtle, and lovingly unrushed direction of a firecracker script…the result is a studio picture far deeper and richer than its whimsical surface style might lead you to believe.
    • 97 Metascore
    • 100 Critic Score
    The Third Man
    Although he’s only on screen for a fraction of the film’s running time, Lime (Welles) stands out as one of the screen’s most chilling embodiments of the banality of evil, and a perfect stand-in for Third Man’s vision of moral breakdown in post-WWII Europe.
  10. Monrovia, Indiana
    As always with Frederick Wiseman, it’s the quotidian gestures that haunt one in Monrovia, Indiana.
    • 94 Metascore
    • 100 Critic Score
    Shadow of a Doubt
    Hitch’s habit of taking us to the edge of the abyss and then returning us with a wink, so often resulting in unconvincing happy endings, here seals one of his most pitiless visions of a monstrous cosmos admitted only to be denied.
    • 78 Metascore
    • 100 Critic Score
    Lifeboat
    Lifeboat is actually much more complicated than it first appears. Its emphasis on moral debates in dialogue can seem a little dry, but Hitchcock’s shifting sympathies guarantee our guilty involvement with the characters until he builds to a climax of intellectual and spiritual excitation.
  13. Shoah: Four Sisters
    By uniting these four interviews in particular, Claude Lanzmann emphasizes the impossibility of moral clarity in the unthinkable circumstances into which Germany’s invasion of Eastern Europe threw its Jewish population.
  14. Basket Case
    Horror is said to be driven by a fear of death when the genre is often more viscerally concerned with rejection and loneliness. Henenlotter feels these emotions in his bones.
  15. Near Dark
    A romance, a western, and a totem to lost youth in an era ravaged by infection and addiction, it’s a high-water mark in a decade filled with exemplary genre fare. Borrowing from, and surpassing, the exceptional chemistry of Aliens’s tightly knit cast, the melancholic Near Dark is gorgeous even in its savagery, and one of pulp cinema’s greatest achievements.
    • 63 Metascore
    • 100 Critic Score
    The Tin Drum
    The Tin Drum, adapted from the eponymous novel by Günter Grass, doesn’t cast the story in a new light, though it does deepen a few of its subplots.
    • 75 Metascore
    • 100 Critic Score
    Possession
    Many directors have taken full advantage of Adjani’s exotic, ethereal French beauty; only Zulawski saw beyond the exquisite surface to something unsettling. Most disconcerting is the way Adjani can register almost demonic ill-intent while never losing some trace of the alluring.
  18. Straw Dogs
    Sitting through Peckinpah’s controversial classic is not unlike watching a lit fuse make its slow, inexorable way toward its combustible destination—the taut build-up is as shocking and vicious as its fiery conclusion is inevitable.
    • 90 Metascore
    • 100 Critic Score
    The Circus
    It is Chaplin’s great elegy to the lost art of music-hall pantomime and, for that matter, the soon-to-be lost art of silent-film comedy.
  20. Blow-Up
    Blow-Up is moving and influential for the chasms it understands to exist between people, and for its perception of art as unable to bridge those divides.
    • 87 Metascore
    • 100 Critic Score
    Medium Cool
    Medium Cool stages, not so much with voguish nihilism, despite its demonstrably downbeat ending, as dispassionate vérité straightforwardness, the growing pains that strain a nation when the countercultural ideal of limitless possibility matures into something closer to political reality.
  22. Hyenas
    Djibril Diop Mambéty’s 1992 film resonates primarily for its lacerating comedic writing and pacing.
  23. Atlantics
    As Mati Diop mourns Senegal’s lost men, she honors their grief and affords them tremendous power all at once.
  24. The Apartment
    The tone of The Apartment differs from both those darkly moral movies and the filmmaker’s farces, finding a middle ground of somber tragedy that undercuts the awkward comedy of manners between the characters.
  25. All Quiet on the Western Front
    Anti-war statements of the cinema in the subsequent 80 years have occasionally surpassed Lewis Milestone’s technically and artistically groundbreaking film, but few can match it for relentless despair or elemental fury—both on and off the battlefield.
  26. The Fury
    Ultimately, The Fury is a film about pre-pubescence by a director whose work had finally reached the level of confidence reflecting a post-pubescent talent. The best of both worlds, baby, and barely legal.
  27. La Flor
    The arc of La Flor’s first three episodes, in particular, suggests someone continually working and reworking the film of their dreams, adjusting the tone, the approach, the narrative twists and the emotional intensity on the fly.
  28. Casualties of War
    It stands as maybe the only great film by the director that I feel an unconscious crisis of conscience that makes me want to view it without an auteurist context.
  29. Koyaanisqatsi
    Koyaanisqatsi is enraged with modern societal convention, but still expresses awe of the spontaneous, incidental poetry that can exist despite invisible oppression.
  30. Vitalina Varela
    At last, Pedro Costa appears to be more interested in how people get on with life than how they keep the company of ghosts.
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