Slant Magazine's Scores

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For 7,767 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 6.2 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: 4,344 out of 7767
  2. Mixed: 1,490 out of 7767
  3. Negative: 1,933 out of 7767
7767 movie reviews
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  1. Celine and Julie Go Boating (1974)
    Don't let the women's smirks and wordplay fool you: The fact that art is eternal often makes it more horrifying than life itself.
    • 100 Metascore
    • 100 Critic Score
    Voyage to Italy (re-release)
    As befits a filmmaker who defined as well as challenged the definition of Italian neorealism, Voyage to Italy unfolds as a thorny narrative and a profoundly personal documentary.
  3. Dekalog (1988)
    The biblical root of the [Dekalog] may suggest didacticism on its face, but whatever morals are advanced are decidedly ambivalent.
  4. Compensation
    Compensation deftly uses intimate methods of character identification to encourage the viewer to imbibe the larger history lived through those figures.
    • 100 Metascore
    • 100 Critic Score
    Tokyo Story
    In this exquisite merging of specific and universal, infinite and infinitesimal, Tokyo Story perhaps most clearly illuminates that Ozu is not the most Japanese of filmmakers, but the most human.
  6. Citizen Kane
    I still stare at it, amazed and entertained, but dwarfed by the very idea of attempting to untangle the crow’s nest that has formed through the film’s ever-expanding histories. And what continuously stupefies me is that time works no miracles on this particular film: Scenes remain familiar, but the narrative seems to shift every time I return to it.
  7. Casablanca
    The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed.
  8. Boyhood
    Richard Linklater's film is an experiment in time, and one that's attentive to the audience's sense of empathy.
  9. Notorious
    Love is a dark, corroded obsession in Alfred Hitchcock’s Notorious, a black-velvet biocide brimming with notes of tabloid titillation, spy-versus-spy nonsense, and romance as rotten as a half-eaten Granny Smith left out in the summer sun.
  10. Vertigo
    Alfred Hitchcock’s rich and strange masterwork.
  11. Singin' in the Rain
    Many things reinforce the enduring greatness of Singin’ in the Rain, but its most charming element is the filmmakers’ love for and dedication to the basic tenants of cinema as pure enchantment, and an open indulgence of all the bells and whistles that have been allowed it to grow into something bigger and (arguably) better over the decades.
  12. Playtime
    With Playtime, Tati made one of the most fully inhabitable films ever.
    • 99 Metascore
    • 88 Critic Score
    City Lights
    The first great peak in City Lights, the boxing scene, may be the most brilliant single comedy sequence of his career, not least because of the participation of Hank Mann, who plays the Tramp’s Bluto-like opponent in the ring, and Eddie Baker, who plays the referee.
  14. Moonlight
    What tends to right Moonlight, even when Barry Jenkins's filmmaking drifts into indulgence, is the strength of its actors.
  15. Intolerance
    Likely the most influential film ever made.
  16. 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.
  17. Pinocchio
    Pinocchio redeemed Disney from the parlor trickery of Snow White and suggested animated features could indeed dance without strings.
  18. Au hasard Balthazar
    Au Hasard Balthazar possesses a strictly balanced, bemused-unto-neigh-indifferent attitude toward delineating between the wry and the glum, the sacred and the profane.
    • 98 Metascore
    • 88 Critic Score
    The Lady Vanishes
    In less skilled hands, the film’s slow start would be a problem. Thanks to thrilling visuals and an effortless performance by Redgrave, Lady Vanishes is a lively companion piece to Hitchcock’s other magnificent British-made hit, The 39 Steps, about an innocent man mistaken for a spy.
  20. The Treasure of the Sierra Madre
    The Treasure of the Sierra Madre is as enduring a classic as has ever come out of Hollywood, and arguably among the greatest, but the film is admittedly not without its share of rough spots.
  21. Some Like It Hot
    Magnificently paced and terrifically funny at nearly every turn, Some Like It Hot was imbued with an inherent distrust of capitalism and big business that Wilder regularly expressed in an only slightly covert manner.
  22. North by Northwest
    The picture is hugely pleased with itself, but it’s too funny and expertly calibrated to mind in the least. Both Hitchcock and Grant raise relaxed confidence to masterpiece level here.
  23. Rashomon
    The film is still one of the most glorious testaments to the frustrations and exhilarations of chasing an unvarnished truth.
  24. 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.
    • 97 Metascore
    • 88 Critic Score
    Jules and Jim
    It represents some of the first and most essential steps into a new age of filmmaking.
  26. My Left Foot
    One hundred and six minutes is entirely too short a time span for Sheridan to cover Christy's entire life, but the performances are so profound they successfully fill in any and all gaps.
  27. The Night of the Hunter
    Perverse yet remarkably life-affirming, Night of the Hunter may be the best film ever made about spiritual perseverance.
  28. Le Petit Soldat (re-release)
    Compared to "Breathless," Le Petit Soldat's images suggest a stronger sense of place, as characters seem inextricably linked to their environment. Overall, the film lacks the artifice of Hollywood cinema, which Godard admired but was looking to move past after catching flack from the French left wing.
    • 97 Metascore
    • 100 Critic Score
    The Third Man
    Although he’s only on screen for a fraction of the film’s running time, Lime (Welles) stands out as one of the screen’s most chilling embodiments of the banality of evil, and a perfect stand-in for Third Man’s vision of moral breakdown in post-WWII Europe.
  30. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    Dr. Strangelove is unique as an American studio film in that nearly every scene addresses its alignment of military action with sexual impotence and bodily excretion. It’s possibly the filthiest studio comedy ever made, even though there isn’t a single gross-out gag, curse word, or graphic image in its entire running time.
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