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. Palo Alto
    It presents little that wasn't already done better in "Myth of the American Sleepover," an equally evocative tale of longing that was far more successful at matching teen tropes with atmospheric naturalism.
  2. Sex
    The film’s microcosm of dysfunction is convincing for how it depicts an ongoing, even never-ending, struggle to define oneself.
  3. Body Double
    Body Double, while not his finest, is the best candidate as De Palma’s signature film. It’s a wicked, feature-length double entendre from a Doublemint era. Take it at face value, take it for its prurience or take it for all it’s worth. Hell, try taking on all three at once.
  4. Here Comes Mr. Jordan
    Death is a many-splendored thing in Here Comes Mr. Jordan, which treats the possibility of an afterlife not with somber religious symbolism, but a keen sense that a human being’s mortal end must be understood for its corporeal difficulties.
  5. Lion
    Lion's faults of structure and pacing might limit its power, but in stretches it still roars.
  6. Amour Fou
    Jessica Hausner is less interested in historical revisionism than mining this real-life tragedy for its existential thrust.
  7. The Miseducation of Cameron Post
    The film's refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation.
  8. Rocketman
    As a musical, Dexter Fletcher’s film is just fun enough to (mostly) distract us from its superficiality.
  9. Eating Raoul
    A delirious rejoinder to the post-sexual revolution counter-culture wars, director Paul Bartel’s script crosses the let’s-get-down-to-social-brass-tacks satire of Bob & Carol & Ted & Alice, which was respectfully vindictive of Los Angeles’s middle-class hedonism, with the straight-faced über-misanthropy of Kind Hearts and Coronets.
  10. Head Games
    While Steve James's documentary is persuasive on an informational level, it doesn't do enough to explore the human side of its subject matter.
  11. Hannah Arendt
    The film's most striking quality, and it's not insignificant, is director Margarethe von Trotta's refusal to fossilize the controversies she dramatizes.
  12. Fatima
    The film appears to have been devised to pander to the presumptions of Western, liberal viewers.
  13. The Little Hours
    For all its hip ludicrousness, The Little Hours has a point: to almost earnestly riff on how atheism has taken hold of 21st-century America, by rooting our nation’s moors in a time of great austerity, sexism, classism, and persecution.
  14. Diamond Island
    The filmmaker brings enough original aesthetic touches to the table, as well as a fresh cultural perspective to the broader socioeconomic issues he broaches, that Diamond Island rarely feels derivative.
  15. Meantime
    Leigh captures the restless, maddening, emasculating, demoralizing stench of poverty and unemployment with an acuity and piquancy that’s nearly unrivaled in cinema.
  16. Evil Dead Rise
    Lee Cronin serves up considerable gore with monotonous, po-faced earnestness.
  17. It
    It cashes in on trendy retroism instead of utilizing the perspective of, to borrow from Joni Mitchell, seeing clowns from both sides now.
  18. Funny Games
    Haneke's admonishments are disturbing only in the sense that they're never self-critical, and while watching one of his films, there's always a sense that he thinks he's above his characters, his audience, and scrutiny.
  19. Digging for Fire
    Reminiscent of Woody Allen's great, under-sung Manhattan Murder Mystery, it utilizes a pulp conceit as a shorthand for the regrets that bubble up in a marriage.
  20. Tuesday
    This is a film of tremendous emotion, spirit, and paradoxically restraint and ambition.
  21. White Building
    The film’s depiction of life impacted by urban transformation conjures a palpable aura of entrapment and helplessness.
  22. The Sleeping Beauty
    Judging from The Sleeping Beauty, and the previous "Bluebeard," the provocations stop with the choice of the material, as the tone and style of these films are jarringly well-behaved.
  23. The Vigil
    Keith Thomas’s film hums with uncanny dread, milking the close juxtaposition of living and dead for all its worth.
  24. My Psychedelic Love Story
    In Morris’s best films, such as The B-Side: Elsa Dorfman’s Portrait Photography, there’s a sense that the director is truly simpatico with his subjects. In My Psychedelic Love Story, though, Morris lets a fading never-quite-legend blather her way into a trap.
  25. Tahrir: Liberation Square
    A direct-cinema document of the Cairo protests that toppled Mubarak, Stefano Savona's film doesn't pretend that Egypt's resolution has yet won a lasting victory.
  26. A Life in Dirty Movies
    Wiktor Ericsson emphasizes one of the strongest and most distinctive features of Joseph Sarno's aesthetic: his concentration on female pleasure.
  27. The Unknown Known
    Viewers' tolerance for Errol Morris's apparent sheepishness will hinge on their prior appreciation of the filmmaker's investigative acumen.
  28. I Am Greta
    Even though it’s about a person who speaks with courage about the urgency of the global crisis, I Am Greta itself doesn’t possess enough of that urgency.
    • Slant Magazine
      • Posted Nov 9, 2020
  29. Kill Me Please
    Anita Rocha da Silveira’s slasher-film plot is simply a tease, as there are no scares here, and the filmmaker’s attempt at genre hybridization never coheres conceptually.
  30. Operation Avalanche
    The film attains a chilly existential quality as Matt Johnson's character discerns the weight of his actions.
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