Slant Magazine's Scores

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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
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  1. The Wrong Man
    The sense of moral responsibility in Hitchcock’s films may have never felt more imperative and succinct.
  2. Opera
    Opera is a violent aria of memory, bad luck, the artistic drive and the horror of the stare.
    • 90 Metascore
    • 100 Critic Score
    Red Beard
    The best of Kurosawa’s films are a challenge to look into our greatest fears and at our most terrible afflictions, whether personal or systemic, without turning away. Arguably the best Kurosawa film, Red Beard does not turn away.
  4. 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.
    • 83 Metascore
    • 100 Critic Score
    Intervista
    Here, Fellini effortlessly weaves together various registers, aesthetic and otherwise, continually undercutting whatever level of “reality” seems to be in front of the camera(s) at any given time.
  6. Joyland
    Joyland is full of extraordinary situations that prevent it from being defined by its topicality or tantamount to a badge of honor.
  7. Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles
    Chantal Akerman’s 1975 experiment in film form, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, is an astonishing work of subtextual feminism which has to count as one of the seminal films of the 1970s.
  8. The Rules of the Game
    Low comedy walks hand and hand with tragedy and beauty throughout; the film is frothy one minute, nearly apocalyptic the next, and so you’re never fully allowed to gather your bearings.
  9. Playtime
    With Playtime, Tati made one of the most fully inhabitable films ever.
  10. Cléo from 5 to 7
    Varda captures the fairy-tale essence of early-’60s Paris with a vivacity and richness that rivals Godard’s Breathless.
  11. The Passion of Joan of Arc
    The Passion of Joan of Arc remains the moment that [Dreyer] guided his medium to new heights, and also crafted a work that would endure outside of any specific context.
  12. Our Body
    Our Body offers, in its unwavering commitment to staring at the fragility of life in the eye, a solace devoid of romanticism or spiritual self-delusion.
  13. Fireworks
    It’s a weird experience that Kitano is offering to movie audiences: We thrill to the violent, heroic exploits that leave many a pierced eyeball, many a severed limb, many a bullet-riddled corpse, but we find uplift in his celebration of community, music, dance, light, color, and companionship.
  14. The Mother and the Whore
    Jean Eustache obliquely puts on trail the self-reflexive cool of the early New Wave films.
    • 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.
  16. Xala
    Widely regarded as Ousmane Sembène’s finest achievement, Xala is a cutting morality tale that equally blames the corruption of Senegal’s sociopolitical environment on Euro-centricity and African auto-destruction.
  17. The Beast
    Bertrand Bonello uncannily utilizes burdensome signs and wonders for maximum insight and agitation.
  18. 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.
  19. Le Samouraï
    Melville’s 1967 masterpiece, which—through assuming the same systematic attention to detail as its iconically cool protagonist—achieves an atmosphere of mesmerizing, otherworldly beauty and grace.
  20. I Am Cuba
    I Am Cuba is a cinephile’s wet dream, a collage of Herculean feats of technical wizardry that would be easy to dismiss if it wasn’t so humane.
    • 76 Metascore
    • 100 Critic Score
    Charley Varrick
    Ultracool.
  22. Marty Supreme
    Marty Supreme rapturously reprises a siren song that transcends any single American era, beckoning hustlers to heed its call.
  23. The Tales of Hoffmann
    Though lacking the thematic depth that characterized the Archers’ earlier work, The Tales of Hoffmann ranks among their finest triumphs for its purely aesthetic self-justification.
  24. Monsieur Hulot's Holiday
    Tati biographer David Bellos called 1953’s Monsieur Hulot’s Holiday “Tati’s most perfect film,” and in many ways, it’s difficult to disagree with this sentiment in terms of tone and form.
  25. Compensation
    Compensation deftly uses intimate methods of character identification to encourage the viewer to imbibe the larger history lived through those figures.
  26. El
    Though set in Mexico and ripe with authentic details from daily life, Él is less a portrait of machismo gone awry than it is a brutal and absurd glimpse at one man’s runaway paranoia.
    • 96 Metascore
    • 100 Critic Score
    Breathless
    What remains most striking, and most moving, about Godard’s first feature is its sophisticated yet largely guileless faith in the filmic medium, a cinephilia untainted by smugness or cynicism.
  28. Hard Boiled
    There’s a moral “quality” to the bloodshed that you won’t find in your average Hollywood action film.
  29. Queen at Sea
    As much as Binoche is the backbone of Queen at Sea, Courtenay and Calder-Marshall’s raw performances are no less impressive.
    • 86 Metascore
    • 88 Critic Score
    Summer Hours
    It’s a testament to Assayas’s empathy that he is able to build the entirety of his drama in the distance between his principals’ forgivable self-interest and their quiet kindness.
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