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 6.4 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. Only Yesterday (1991)
    It uses the trappings of the family melodrama to reveal the subtle social constraints that inhibit people, particularly women, from attaining full self-realization.
    • 90 Metascore
    • 75 Critic Score
    Seeds
    Brittany Shyne’s lens is held rapt by the ramblings and insights of the elderly, but it springs to life when it’s turned toward the next generation, whose future is of utmost concern in light of the socioeconomic tensions documented by the film.
  3. First Cow
    The sense of a nascent community rising up out of the primordial muck is palpable, so it’s unfortunate that John Magaro and Orion Lee's characters ultimately feel outside it all.
  4. Mad Max: Fury Road
    George Miller orchestrates the rubber-burning pandemonium with the illicit smirk of someone who knows he's giving us exactly what we want.
  5. 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.
  6. Gett: The Trial of Viviane Amsalem
    The courtroom's cramped, near-featureless air of bureaucratic stagnation becomes oppressive even for the audience, making it easy to identify with Viviane's growing hunger for freedom.
  7. I Called Him Morgan
    Director Kasper Collins imbues this documentary with an ambiguous, unsettlingly empathetic emotional force.
  8. All of Us Strangers
    Andrew Haigh’s film always feels perched on the precipice of unlocking a deeper register.
    • 90 Metascore
    • 88 Critic Score
    The Hustler
    With solid performances, a great jazz score by Kenyon Hopkins, and a virtual clinic in how to do black-and-white cinematography thanks to Eugene Shuftan’s camerawork, The Hustler reaffirms your faith in the movies.
    • 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.
  11. Procession
    Robert Greene’s gaze is an attempt to accord his subjects the dignity of attention, utilizing cinema as a form of emotional due process.
  12. Blue Is the Warmest Color
    Abdellatif Kechiche reveals through his sense of composition, and collaboration with his remarkable actresses, a sensitivity to emotional nuance that's striking.
  13. Phantom Thread
    Phantom Thread arrives at a place of qualified peace that cauterizes the emotional wounds of Paul Thomas Anderson's cinema.
  14. 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.
  15. Silent Friend
    Despite loose ends, it’s one of the most dreamily affectionate (and affectionately critical) portrayals of the natural sciences ever committed to the screen.
  16. It's Such a Beautiful Day
    Despite all this macabre torment, It's Such a Beautiful Day involves a lot of sweet, plucky humor that represents a discreet softening of the angry sarcasm for which Hertzfeldt has become known.
  17. Paths of the Soul
    Zhang Yang achieves an astonishing immediacy by simply allowing the prostration process to play out over and over with minimal aesthetic interference.
  18. The Souvenir: Part II
    Joanna Hogg’s film is a work of understated warmth, profound emotional complexity, and eminently British dry humor.
    • 90 Metascore
    • 88 Critic Score
    This Is Not a Film
    In its way, this effort is both a forceful assertion of the most stifling brand of auteurism and a radical reconfiguration of its political potential.
  20. Sound of Falling
    The past comes off in Mascha Schilinski’s film as an onerous, if unseen, weight on the present.
  21. Green Border
    The journeys that Jan and Julia undergo feature such obvious narrativization that they cannot help but feel a bit out of sync with the more observation segments featuring the refugees.
  22. Oppenheimer
    For better and worse, Nolan has often turned to practical and scientific means to demystify his films’ subjects, be it dreams, magic, or the impossible antics of one particularly traumatized billionaire orphan. His best work (The Prestige, Interstellar) ultimately resists the comedown that can accompany such explication as the material retains some fundamental sense of wonder.
    • 90 Metascore
    • 63 Critic Score
    Paths of Glory
    Paths of Glory may be first-rate humanity, but it’s also second-rate art.
  24. 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.
  25. High and Low
    High and Low is a masterful cinematic elevator connecting two warring social perspectives, finding a common ground between them in the pressurized corners of the classic crime drama.
  26. Big Men
    No one corporation or person plans to trample over the wellbeing of the Ghanaian people, but as the story of the development progress, the breadth of Rachel Boynton's research shows how it will occur regardless.
    • 90 Metascore
    • 100 Critic Score
    The Circus
    It is Chaplin’s great elegy to the lost art of music-hall pantomime and, for that matter, the soon-to-be lost art of silent-film comedy.
  28. Paterson
    Paterson's sunny aesthetic and disposition marks a stylistic departure for writer-director Jim Jarmusch.
  29. The Fits
    This singular mix of character study and mysterious mood piece might not have come off quite so successfully if not for Royalty Hightower's internal performance.
    • 90 Metascore
    • 100 Critic Score
    Raging Bull
    Scorsese might never again find a subject as ideal as Jake LaMotta, the Bronx-based boxer whose public bouts and private demons Raging Bull chronicles with such bruising acuity.
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