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. Come to Daddy
    Unlike many [M. Night] Shyamalan films, which seem constructed out of Mad Libs, Come to Daddy retains an emotional consistency.
  2. Low Tide
    Kevin McMullin displays a piercing awareness of the tensions that drive the dynamics of adolescent outsiders.
  3. Swallow
    Fortunately for the film, Carlo Mirabella-Davis continually springs scenes that either transcend or justify his preaching.
  4. Woodstock: Three Days that Defined a Generation
    Throughout, the era-defining yet problem-plagued music festival astounds in large part for all the disasters that didn’t occur.
  5. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    Martin Scorsese culls various images together to offer a startlingly intense vision of America as place that, to paraphrase Bob Dylan, essentially believes in nothing, following one demoralizing crisis after another.
  6. Meeting Gorbachev
    Werner Herzog’s documentary is a rare example of the arch ironist’s capacity to be awed not by nature but by man.
    • 74 Metascore
    • 75 Critic Score
    Decade of Fire
    Decade of Fire’s purpose is to make known how those in the Bronx must continue to fight even today against forces hellbent on their erasure.
  8. The Projectionist
    Where The Projectionist ultimately excels ... is as the kind of cultural microcosm that makes Ferrara’s other documentaries feel at once urgent and incredibly rich in their broader implications.
  9. House of Hummingbird
    The film is never more intense than when it’s finding parallels between its main character’s anomie and Korea’s dehumanizing expansion.
  10. The Silence of Others
    Almudena Carracedo and Robert Bahar’s documentary is monumental for its clamorous sounding of an alarm.
  11. Zulu
    A good platter for a great, underappreciated classic of British cinema (under the direction of American expatriate Cy Endfield)—light on supplements but strong in presentation.
  12. Toni Morrison: The Pieces I Am
    In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.
  13. Charade
    Shot by Charles Lang, one of the greatest American cinematographers to ever live, Charade is some sort of miraculous entertainment, self-aware and self-parodying yet never distancing or detached. Hepburn is the audience’s funny and flighty proxy, allowing us the great pleasure of being seduced by Grant’s unpredictable charmer.
  14. Bacurau
    The film succeeds as a stingingly personal missive aimed squarely at Brazil’s right-wing president.
  15. Little Joe
    Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
  16. Les Misérables
    The film serves as both caustic update to Victor Hugo’s monolithic novel and cautionary tale about the future.
  17. Oh Mercy!
    Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime.
  18. Parasite
    The only thing that keeps Parasite just slightly below the tier of Bong’s best work, namely The Host and his underrated and similarly themed 2000 debut film, Barking Dogs Never Bite, is the overstuffed pile-up of incident that occurs toward the end.
  19. Sibyl
    Justine Triet is less committed to some make-believe realism than she is to the tricks that memory and language can play on us.
  20. The Whistlers
    Corneliu Porumboiu’s film is very much a genre exercise, and a particularly Soderberghian one at that.
  21. Beanpole
    Kantemir Balagov depicts pain in blunt terms, but he traces the aftershocks of coping and collapse with delicate subtlety.
  22. Liberté
    Though betraying the markings of its original form in its small revolving ensemble, single location, and frequent tableau staging, Liberté conjures a sustained ambiance and eroticism that’s unique to the language of cinema.
  23. Fire Will Come
    The film is much more in synchrony with the haziness of its imagery when it preserves the awkwardness between characters, the impossibility for anything other than life’s basic staples to be exchanged.
  24. The Climb
    The film slides seamlessly between empathizing with its clueless bros and making them objects of unsparing derision.
  25. Deerskin
    In Deerskin, Quentin Dupieux mines the absurdism that is his signature with newfound forcefulness.
  26. The Lighthouse
    Robert Eggers loosens the noose of veracity that choked his meticulously researched but painfully self-serious debut just enough to allow for so much absurdism to peek through.
  27. First Love
    First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.
  28. Tommaso
    Abel Ferrara’s film is about that precise feeling of living with an itch unscratched.
  29. Family Romance, LLC
    We are never quite sure of the extent to which situations and dialogues have been scripted and, as such, it’s as though Herzog were more witness than author, more passerby than gawker, simply registering Japan being Japan.
    • 85 Metascore
    • 75 Critic Score
    Harakiri
    Structured with intricacy and precision, the storyline alternates between present and past, using its extended flashback sequences to delay and then detonate narrative revelations like so many time bombs.
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