Slant Magazine's Scores

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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
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  1. Ray Meets Helen
    After 15 years away from the cinema, Alan Rudolph reminds one of the suggestive potency of his films.
  2. The Cable Guy
    The director, who intermittently shows up on Steven’s television as Stan and Sam Sweet, a hybrid of O.J. Simpson and the Menendez brothers, shoots all of this with verve and fluidity to spare, though he succeeds most commendably in framing and editing his star’s physical antics.
  3. The Stepford Wives
    Forbes’s direction is uncluttered and makes excellent use of the long shot, and though the film threatens to run out of steam at each and every turn, it never runs out of ideas.
  4. The Image You Missed
    The film finds Dónal Foreman exploring the suggestive gaps that exist between his own biography and that of his father.
  5. Fast & Furious Presents: Hobbs & Shaw
    The film’s action is the most extreme encapsulation yet of Dwayne Johnson’s bombastic blockbuster work.
  6. Sick: The Life & Death of Bob Flanagan, Supermasochist
    The title alone of Kirby Dick’s alleged documentary Sick: The Life and Death of Bob Flanagan, Supermasochist practically screams: This is not your standard biopic!
  7. Cold War
    The film is most exhilarating as a breathless vessel for mood, one that just so happens to conduct itself within reconstructed period settings that are as obsessively detailed as the reverently curated soundtrack.
  8. 3 Faces
    Whenever Panahi's architecturally rigorous study of the self, society, and artistic communion threatens to get too self-conscious or loaded, the filmmaker tends to leaven the tension with humor and gentle irreverence.
  9. El Angel
    El Angel‘s greatest accomplishment is in the way it charges the relationships between characters with so much eroticism but never grants us the right to watch desire — other than desire for violence — actually unfold.
    • 62 Metascore
    • 75 Critic Score
    Harold and Maude
    The effortless depiction of their growing camaraderie and unconscious courtship is one of Harold and Maude‘s great charms, as Ashby and screenwriter Colin Higgins transpose fading ideology into boundless truth across a modest framework of pitch-black exposition and glowingly pastoral aesthetic touches.
  11. Asako I & II
    Like Happy Hour, Asako I & II is a parable of the grace — and, yes, happiness — that spring from resignation.
  12. Donbass
    The film’s collisions between the grave and the comic are crucial to its vision of a society cracking under the weight of its own inconsistencies.
  13. The Image Book
    It’s through exercising a certain kind of madness that the film connects even at its most disjointed.
  14. Long Day's Journey Into Night
    Somehow, Bi Gan’s film is self-aware and fluid as its own viewing experience, yet inextricable from its loud-and-clear influences.
  15. Sauvage / Wild
    The film is a tale about how those who spiral so far out of control become blind, if not immune, to the severity of their symptoms.
  16. Sorry Angel
    Much more interesting than Jacques and Arthur's relationship is Christophe Honoré's subtle portrait of the early '90s as a time of accelerated mortality and mourning, but also of material encounters of all kinds.
    • 81 Metascore
    • 75 Critic Score
    Woman at War
    It balances its various modes so carefully and efficiently that it achieves a graceful unity, if a strange one at that.
  18. Border
    The film’s slow reveal of its fantastical elements, which evoke the erratic, dreamlike strangeness of folk tales, makes them all the more unsettling.
  19. The Last House on the Left
    It’s the ultimate Vietnam allegory, except there’s no room for peace here, just war.
    • 78 Metascore
    • 75 Critic Score
    The Sisters Brothers
    The Sisters Brothers proffers a sort of Edenic vision, comedic but tinged with sadness, of a latter-day El Dorado that’s worth basking in, if only as a buffer against the inevitability of its fall.
  21. Breath
    This isn't a film about surfing so much as one about riding a wave that must eventually break and recede.
  22. Enter the Dragon
    The lack of sentimentality helps focus the viewer on what the film depicts exceptionally well, namely wanton bad behavior and enthralling, wall-to-wall ass-kicking.
  23. The Truth
    The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world.
  24. The Cakemaker
    The film binds its narrative to fascinating explorations of national identity, sexuality, and, of course, food.
  25. Thunderbolt and Lightfoot
    Of all the ’70s road movies, Thunderbolt and Lightfoot may be the only one in which the characters find themselves.
  26. We the Animals
    In We the Animals, director Jeremiah Zagar sustains a tone of wounded nostalgia, fashioning a formalism that appears to exist simultaneously in the past and present.
  27. A Perfect World
    Hancock lays the groundwork for Eastwood to transform what might have been an admirable, tightly told entertainment into something far more emotionally resonant, slyly self-aware, and rich in subtext.
  28. A Star Is Born
    The film is equal parts I Will Survive and pop martyrdom, instigated by a star so enormous that she could likely bankroll the Department of Defense for the year of 1976 and still have money left over.
  29. A Star Is Born
    Despite A Star Is Born’s musty jabs at movieland decadence in the wake of satires like Sunset Blvd. and The Bad and the Beautiful, it was the craft found in Cukor’s alternately splashy and shadowy mise-en-scène, and displayed by Mr. James Mason, that most greatly aided Mrs. Sid Luft.
  30. 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.
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