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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    • 80 Metascore
    • 75 Critic Score
    A Still Small Voice
    The film does a fine job of holding a mirror to the experience of therapeutic practice.
  2. Dracula Has Risen from the Grave
    Director Francis films the scenes that center around the vampire with yellow-brown gels around the frames’ edges, giving the impression that they too are from Dracula’s omniscient view. They give Dracula Has Risen From the Grave a musty, jaundiced sensuality (like finding Great Aunt Mildred’s mothball stank-ridden garter belt hidden in the back of her Victorian closet) that characterizes Hammer’s blending of gothic tradition with modern prurience.
  3. We Grown Now
    The film is held together by the universal strength of its performances, particularly James and Smollett, and the elegance with which it veers between dreamy interludes and poetic flourishes stemming from Malik’s imagination and the more quotidian presentation of the small world he lives in, warts and all.
    • 53 Metascore
    • 75 Critic Score
    Silent Night
    When Silent Night does finally kick into high gear, the action is as artful as anything that Woo has whipped up throughout his storied career.
  5. Powaqqatsi
    Powaqqatsi is every bit as viscerally engaging though less provocative than its predecessor.
  6. Ex-Husbands
    The film is full of little moments that speak clearly to the particularities of father-son bonds.
  7. Strange Darling
    Strange Darling is a cunningly devised thriller that wields our assumptions against us like a sharp implement, delighting in making us squirm.
  8. Concrete Utopia
    This darkly comic and consistently revealing tale suggests that, without four walls around us to prop them up, most of our morals would crumble into dust.
  9. The Book of Clarence
    The film does keep the smirking undercurrent of the first half present in the more serious second, but, slowly but surely, it starts asking big questions about the nature of God, what measure of divinity lies in us all, and the value of basic humanity and grace in a world where God’s intervention isn’t a given.
  10. The Strangler (1970)
    This 1970 psychological thriller was Paul Vecchiali’s self-conscious attempt during the waning years of the Nouvelle Vague to take the movement’s genre-defying sensibilities in a new direction.
  11. Daaaaaalí!
    Quentin Dupieux melts the frames that separate dream, film, and reality until they become one plate of tangled spaghetti.
  12. Elio
    The film’s best trait is the one that permeates every truly great first-contact story—not just the hope that our first meeting with the strangest of strangers is benevolent, or that the universe is too vast to determine they all wish good or ill on us, but that connecting with humanity still has value.
  13. The Crime Is Mine
    It draws on the giddily rules-trampling pre-war mood as Chicago. But while its protagonists are as driven by a desire for fame and money as the amoral starlets of the Fred Ebb and Bob Fosse musical, the film has more than grinning cynicism at its core.
  14. 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.
  15. Terrifier 3
    Primarily a vehicle for inventive and wince-inducing practical effects that best anything to be found in a 1980s-era Italian gorefest or the Saw franchise, Terrifier 3 continues the series’s trend of dotting a sparse and sinuous thread of plot with mini-masterpieces of cinematic ultraviolence.
  16. The Stones and Brian Jones
    Via the film’s juxtaposition between footage of Jones performing in front of fawning crowds with the dark personal stories of those who knew him best, Nick Broomfield bitingly undercuts the rock star’s veneer of public adoration.
  17. Black God, White Devil
    By depicting revolutionary fiascos in a critical yet sympathetic light, Glauber Rocha calls on us to imagine what we’d want a revolution to look like, rather than having it spoon-fed to us by those claiming to represent a power beyond ourselves.
  18. The Shrouds
    The film shares with Crimes of the Future an alternately intrigued and critical fascination with the ways technology encroaches on humanity, and a paranoid interest in rooting out underlying conspiracies.
  19. Mickey 17
    Though Mickey 17 can feel like a mixtape of Bong’s greatest hits, it may actually be his most refined and articulate anti-capitalistic critique to date.
  20. Death of a Unicorn
    Death of a Unicorn taps into the anti-capitalist strain in late-20th-century monster movies from Alien to Jurassic Park by tracing a clever through line from the unicorns of antiquity to the present.
  21. The Legend of Ochi
    A simplicity of spirit guides writer-director Isaiah Saxon’s fable-like feature debut.
  22. Mother Mary
    The film is a boldly theatrical pop exorcism where the wounds of the past serve as a gateway to forces that can consume or lift the possessed to ecstatic new levels of self-expression.
  23. Oh, Canada
    There’s a sense here of Paul Schrader wanting to pare back his customary aesthetic even further than it’s already been parred over the last several films and speak plainly, with as little scrim between the audience and himself as possible.
  24. The Outrun
    With The Outrun’s neat but poignant metaphor work in mind, mental illness and addiction are understood as natural responses to the conditions of a ravaged life.
  25. Union
    The level of detail with which the filmmakers depict the unionization process is eye-opening.
  26. Sasquatch Sunset
    What we’re confronted with in the film may be less the quaint idiocy of four dull simians and more our own inability to loosen up and just live.
  27. The First Omen
    Pulsating in the film’s veins is an eerie eroticism and a tactile awareness of the way the Church is controlling the bodies and minds of its women.
  28. Abigail
    While there’s plenty to be said about Abigail’s impressively over-the-top scarlet mean streak, the hellride that the filmmakers take us on is all the more effective for the character groundwork laid prior.
  29. Skin Deep
    Though as fresh and conceptually far-reaching as a David Cronenberg film, it traffics in body ambivalence more than body horror, striking an eerie, wistful tone.
  30. Veni Vidi Vici
    The film’s humor is a clenched-fist assault on runaway greed and systemic corruption.
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