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. Don't Look Now
    It figures that the sex scene from Nicolas Roeg’s Don’t Look Now has become more legendary than the film itself. Forget that Julie Christie and Donald Sutherland were off-screen lovers at the time, the film’s infamous bedroom romp is every bit as devastating and organic as anything else in the film.
  2. Lord of the Flies
    Brook renders savagery with the despairing eye of a humanist, and with the irresolvable ambivalence of an artist.
  3. To the Ends of the Earth
    If Kurosawa is less interested in narrative dynamics, it’s because he’s focused on an acute understanding of societally and sociologically conditioned behavior.
  4. 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.
  5. Rebecca
    A key film in Alfred Hitchcock’s evolution as a master explorer of sexual neuroses.
  6. Come and See
    It suggests that a war’s horrors were the ultimate unassimilable experience of the shadowy depths of the human mind.
  7. The Shop Around the Corner
    The charm of the gimmick in Lubitsch’s take (directing a script by Samuel Raphaelson, who had collaborated with the German-born filmmaker on comedies and melodramas alike) is passed over quickly in favor of studying both its effects on those involved, as well as the dynamics of the workplace at large.
  8. McCabe & Mrs. Miller
    It could be the most authentic representation of wilderness life ever put on screen.
  9. Grey Gardens
    Grey Gardens remains one of the greatest and possibly only disaster movies that clearly benefits from not having seen the moments of reaping.
  10. Wild Strawberries
    Initially, Wild Strawberries appears to be an almost pointedly unsubtle coming-of-age story that’s been goosed with dime-store surrealism and male handwringing masked as intellectual engagement with humankind. But the bluntness is a misdirection that underlines the depth of Bergman’s empathy with his hero as well as his dedication to his real subject, which is the process of mentally freeing oneself from an insidiously limiting self-mythology.
  11. The 39 Steps
    Like Rear Window later on, this charming, masterfully made British spy adventure from 1935 is a sigh of doubt, perhaps even a cry of anguish, disguised as a slick pop bauble.
  12. The Bellboy
    The Bellboy clearly sets a standard of self-involvement and examination in Lewis’s work that is so successfully hermetic that it scarcely needs the approval of the audience.
  13. The Patsy
    The Patsy reflects a genuine affection for the artisans and jacks-of-all-trades that make careers like his possible.
  14. Point Blank
    Though Point Blank is rife with existential malaise, it is also one of the most ferociously sexy crime movies ever made.
    • 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.
    • 87 Metascore
    • 100 Critic Score
    F for Fake
    F for Fake is one of the more wistfully humorous of Welles’s wrestlings with reality. Roguishly comic yet profoundly bittersweet and edited in seizures with a deliberate, manic grace, the film represents the most flamboyant of its director’s magical acts, with Welles himself acting on screen as the narrator/conjuror, pulling the curtain back again and again, each time only to reveal another stage and another curtain in a series of dizzyingly self-reflexive meditations on fakery.
  17. Imitation of Life
    The film isn’t only revolutionary for its aesthetic rigorousness but its rare fascination with white America’s difficulty relating to people of color.
    • 73 Metascore
    • 100 Critic Score
    Marnie
    The film’s themes, along with its avalanche of formal signifiers, are all fused together in the magisterial hunting sequence.
  19. Chimes at Midnight
    Welles is at the height of his powers while reveling in the poetic force of Falstaff’s weakness.
  20. Battleship Potemkin
    A persistently political work salvaged by its unforgettable grasp of motion.
  21. Black Narcissus
    Black Narcissus impishly keeps watch over the Archers’ canon with a sunken, rabidly prismatic eye.
  22. Bring Me the Head of Alfredo Garcia
    Like few modern films, Alfredo Garcia seems to not only be a product of a director’s singular vision, but a virtual window into one man’s fractured, tortured soul.
  23. Mr. Bachmann and His Class
    The documentary exists within the very restricted pantheon of films that successfully reap the cinematic potential of pedagogy.
  24. Husbands and Wives
    Allen bravely posits one’s fear of change and the comfort in finiteness. In the end, Husbands and Wives becomes a mirror of false illusions, relentlessly held up by Allen before the faces of anyone who has ever looked for a reason to leave only to sheepishly stay behind.
  25. I Confess
    I Confess ultimately reveals itself to be one of Hitchcock’s most successful examinations of the tension between public image and private turmoil.
  26. Licorice Pizza
    It’s the hints of danger, employed like ghost notes in a shuffling rhythm, that lend the film its sneaky depth of feeling.
  27. Killers of the Flower Moon
    Killers of the Flower Moon is a three-hander on an epic canvas, a corrosive analysis of America’s colonialist and capitalist excesses as refracted through a marital melodrama in the vein of George Cukor’s Gaslight or Alfred Hitchcock’s Suspicion.
  28. Tenebrae
    Tenebre is a riveting defense of auteur theory, ripe with self-reflexive discourse and various moral conflicts. It’s both a riveting horror film and an architect’s worst nightmare.
  29. Underground
    Underground is a unique blend of lowbrow slapstick and sophisticated war commentary, earning it well-deserved comparisons to Ernst Lubitsch’s brilliant To Be and Not To Be (possibly the funniest movie ever made) and the films of Abbott and Costello.
  30. 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.
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