Slant Magazine's Scores

Select another publication »
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
view
per page
  1. Flee
    The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.
  2. 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.
  3. EX LIBRIS: The New York Public Library
    Frederick Wiseman is a portraitist of ideals, of the insidious inspirations and nightmares that enable and undermine them, and, implicitly, of the political waves that have yet to balance this duality of first-world life.
    • 91 Metascore
    • 100 Critic Score
    A Brighter Summer Day (1991)
    It's in his generous, objective use of long shots and spare but startling close-ups that we see once again the influence of Robert Altman in Yang's aesthetic and the struggle of the Taiwanese people to accept their history. In essence, Yang uses his aesthetic to bring into the light that which is dark.
  5. Tótem
    Tótem is a film of unexpected beauty, using its main character as a conduit for exploring the quandaries of a family navigating matters of love, heartbreak, class, innocence, and, perhaps most prominently, mortality.
    • 91 Metascore
    • 100 Critic Score
    Lady Killer (Gueule d’Amour)
    Exquisite and disturbing, Gueule d’Amour is still one of the screen’s least seen masterpieces.
  7. Stories We Tell
    Sarah Polley is much more interested in the malleability of memory and the consequential refractions felt throughout her kin rather than telling a linear narrative.
  8. 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.
    • 91 Metascore
    • 88 Critic Score
    The Boy and the Heron
    The true tragedy of The Boy and the Heron seems not to be that the blemishes of its fantasy mirror those of its reality, but that any one person should think themselves capable of sanitizing either.
  10. A Bread Factory Part One: For the Sake of Gold
    Wang’s particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles, and here he manages to defend the importance of art, attack the neoliberal devastation of cultural liberalism, and argue for the renewed public commitment to the arts from a wryly comic perspective that eschews sentimentality.
  11. Jafar Panahi's Taxi
    Jafar Panahi spotlights the act of filmmaking as an act of resistance as well as a possible source of propaganda and manipulation.
  12. Ida
    Pawel Pawlikowski shows great empathy toward the idea of illusions as a way of attaining emotional stability in even the most brutal terrain.
  13. All the Beauty and the Bloodshed
    The warm, rueful, and sometimes angry All the Beauty and the Bloodshed accomplishes the goal of any documentary worthy of its genre by shining an insightful light onto what informs an artist’s vision.
  14. Hit the Road
    For too much of its running time, Panah Panahi’s film is untethered from any kind of captivating narrative purpose.
  15. An Autumn Afternoon
    The progression of Ozu’s style seems to parallel that of Jacques Tati, who moved from the mutable likes of M. Hulot’s Holiday into the glass-cut inflexibility of Playtime.
  16. Anora
    The film’s initial pull lies in the way that Sean Baker intoxicatingly keys his aesthetic to the fervor of a budding romance that we clearly know won’t end well.
  17. The Favourite
    The Favourite, notably the first of Yorgos Lanthimos’s films to be written by others, is more narratively coherent and conventional than The Lobster and The Killing of a Sacred Deer, but Deborah Davis and Tony McNamara’s florid screenplay still affords the Greek Weird Wave auteur ample opportunity to assert his idiosyncratic worldview.
  18. Over the Limit
    The film is composed of minutely observed moments that Marta Prus has assembled into an affecting narrative.
  19. Ghost World
    Ghost World is a beautiful evocation of the ghostly nature of love, loss, and ultimately memory itself.
  20. The Right Stuff
    The titular “stuff” is shown to be a combination of courage, determination, and recklessness, but, as Kaufman’s stirring epic reminds us, an equally important motivation for greatness is the fear of being merely second best.
  21. Bambi
    While not nearly as emotionally impacting as some of Disney’s other classics, Bambi might be the most restrained and lyrical of the bunch, a poem to the simplicity and purity of natural life.
  22. Menus Plaisirs - Les Troisgros
    With Menus-Plaisirs Les Troisgros, Frederick Wiseman proves again to be the master poet of micro textures that speak to the macro of social infrastructure.
  23. Bringing Up Baby
    Bringing Up Baby has some delightfully comic sequences, for sure. But I’m less inclined to remember the dynamics of the gag than Grant and Hepburn’s timing.
  24. Nostalgia for the Light
    Guzmán creates an interesting dialectic between the different searchers profiles, uniting them under an umbrella of humanism and cautious hopefulness.
    • 91 Metascore
    • 63 Critic Score
    The Gatekeepers
    Even when the so-called Gatekeepers offer up damning testimony against their organization, there's no real threat that they'll ever be held accountable for it.
  26. Little Fugitive (re-release)
    The film's beguiling visual poetry and smatterings of sociological subtext function less than coherently as transitional markers between cinematic epochs, or even as the nascent burblings of any imminent DIY revolution; instead, they're redolent of a modernist apotheosis.
  27. The Brutalist
    Brady Corbet builds on celluloid what Adrien Brody’s László Toth does with concrete: an unvarnished monument to the authentic American character.
  28. La Chimera
    In this rueful film about all things unseen, the importance of time is seemingly felt by everyone.
  29. The Worst Person in the World
    The film may be the prime example of how to restore fun, significance, and even a little bit of sex to the well-worn terrain of the romantic comedy.
  30. 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.
Page:

Top Trailers

See all »
See all trailers »