Slant Magazine's Scores

Select another publication »
For 7,776 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: 4,350 out of 7776
  2. Mixed: 1,493 out of 7776
  3. Negative: 1,933 out of 7776
7776 movie reviews
view
per page
  1. Breakfast at Tiffany's
    Blake Edwards’s discontent-but-charmed portrait of a long-lost New York state of blithe is, like most Blake Edwards films, narratively scattershot but reliably fixated on the cinematic chemistry of social relations in a mod (and post-mod) era, which invariably boil down to genders and the extent to which individuals ascribe to their assigned sex roles.
  2. Suzume
    The film is consistently delightful, offering up an unrelenting supply of shimmering, sun-dappled visuals and a sweet, strange story about a young girl making peace with her past.
  3. Apprentice
    Writer-director Boo Junfeng casually reinvigorates the prison drama, boiling its elements down to their primal essence.
  4. Apples
    The film's rendering of the interplay of memory, identity, and grief is disappointingly vague.
    • 77 Metascore
    • 75 Critic Score
    Keep On Keepin' On
    Slowly, the powerful message of heart and soul winning out over an impaired body and over-thinking mind develops into the core drama of this otherwise modest doc.
  6. The Hunt
    The film is in part an exceedingly black comedy that parodies proper society's eager, self-righteous naïveté on the subject of its children.
  7. A Touch of Sin
    As depicted by Jia Zhang-ke, the balance between the spoils and moral rot of murder are far preferable to the debasing rigors of tradition and hollow nationalism.
  8. The Beguiled
    The Beguiled serves as proof that what goes for naturalism in Sofia Coppola’s dominion still verges on being decorative to the point of self-parody.
  9. On the Adamant
    Unwilling to risk subjectivity or authorial input, and also lacking in the forensic detail that might have provided a more in-depth analysis of the Centre de jour l’Adamant and its functioning, On the Adamant ultimately feels half-formed.
    • 77 Metascore
    • 88 Critic Score
    Winter Kills
    Even if you don’t go in with a conspiratorial mindset, one viewing of this riotously entertaining, chillingly perceptive film could leave you wondering if some larger force is at play, protecting the targets of this should-be New Hollywood classic by keeping it in the dark after all this time.
  11. The Heiresses
    Ana Brun’s performance as Chela anchors our attention where Marcelo Martinessi’s understated visuals might otherwise lose it.
  12. The Mustang
    Single-minded and direct in its execution, the film is a hard look at the extremes of masculine guilt and healing.
  13. Two Years at Sea
    The stillness and silence with which we look upon Jake Williams ranges from curious to unnerving to fascinating.
  14. Madam Phung's Last Journey
    With the invocation of national allegiance as an inherent contradiction, the documentary blooms its larger, allegorical inklings.
  15. Presenting Princess Shaw
    The peculiar circumstances of the documentary necessitate more transparency than the filmmaker is willing to offer.
  16. A Star Is Born
    William Wellman’s 1937 version of this oft-told tale, of the rising starlet and the plummeting alcoholic has-been she refuses to cast aside, is usually regarded as the second-best of the lot, a few steps behind George Cukor’s 1954 remake, which has the unfair advantage of being one of the unimpeachable masterpieces of American film.
    • 77 Metascore
    • 75 Critic Score
    Basket Case
    Henenlotter’s consistent blurring of the line between horror and comedy is one of the more perverse side effects of his warped sensibility, keeping viewers off balance, so that they never know whether the punchline to one of Basket Case’s many gags will be just that, a crude joke, or the sight of someone getting their face ripped to shreds.
  18. 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.
  19. Philomena
    A human-interest story that claims spite for human-interest stories, the film has some pretty divisive issues at its core that leave it torn between contrasting approaches.
  20. First Love
    First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.
  21. Jauja
    Other films of this ilk use widescreen composition to highlight a terrifying existential void, but these cramped frames tend to produce the nutty energy of cabin fever.
  22. The Immigrant
    In its stripped-down realism and blistering fixation on its main character's grappling with life and mortality, the film is kin to Roberto Rossellini's collaborations with Ingrid Bergman.
  23. Don't Call Me Son
    Writer-director Anna Muylaert writes themes into excellent, controlled first acts that turn capricious by the third.
  24. The Amusement Park
    With The Amusement Park, George Romero holds a cracked (funhouse) mirror up to a callous and ultimately terrified society.
  25. Detroit
    Kathryn Bigelow hyper-realistically, almost dispassionately, covers her ensemble’s actions in the manner of a somber disaster film.
  26. The Edge of Seventeen
    The smartest thing about Kelly Fremon Craig's teen dramedy is its measured take on its protagonist's theatrics.
    • 77 Metascore
    • 63 Critic Score
    Brooklyn Castle
    It pays to consider even the small details of society's greatest investment in the future: our future generations.
  28. Logan
    It recognizes that the thinly veiled secret of Wolverine’s loner act is that he’s always been a cog of some kind.
  29. 28 Years Later
    The film’s conception of the future, perceptively, looks back to humankind’s primeval past.
  30. Marlina the Murderer in Four Acts
    The film is enlivened by an acute grasp of the impossibilities that abused Indonesian women face in a society predicated on their continued physical and emotional subjugation to men.
Page:

Top Trailers

See all »
See all trailers »