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. The Night of the 12th
    The film wants for deeper characterizations or a closer detailing of criminal procedure.
  2. Matter Out of Place
    Consisting largely of long takes sans music or commentary, the film uncovers the paradox that trash, so apparently devoid of meaning or use-value, needs little commentary.
  3. Guillermo Del Toro’s Pinocchio
    The film is marked by wild flashes of invention, all born of painstaking craft and devotion.
  4. Wood and Water
    Jonas Bak’s semi-autobiographical film is a gentle depiction of modern alienation.
  5. The Scary of Sixty-First
    In a way, the film feels like a true heir to the petulant, low-budget horror cinema of the ‘70s and ‘80s.
    • 80 Metascore
    • 88 Critic Score
    Arrebato (1979)
    Arrebato is an arresting feat of self-aware filmmaking, lashing together experimental tendencies with the tropes and trappings of genre cinema.
  7. Azor
    With its elegantly restrained cinematography, exquisitely understated performances, and quietly sumptuous production design, Azor embodies the same well-mannered urbanity as its protagonist.
  8. What We Left Unfinished
    Mariam Ghani’s documentary spurs audiences to consider the politics that underlies any artistic activity.
  9. The Real Thing
    The film reveals Kôji Fukada to be playing a patient, very resonant long game, underscoring the struggle to wrest oneself out of social vices.
  10. Blizzard of Souls
    The filmmakers are unafraid of the picturesque, lighting scenes so they resemble old-master canvases.
  11. Survival Skills
    While mostly pulling off this tricky balancing act of humor and real-life horror, the film doesn’t quite go far enough in its critiques.
  12. Koko-di Koko-da
    Nothing hinders surrealism more than the sense that its creators are actively working for it, though Koko-di Koko-da is nonetheless difficult to dismiss.
  13. Buoyancy
    The film never quite pushes beyond the archetypal nature of its scenario to fully unearth its characters’ psychological turmoil.
  14. Coup 53
    Once Taghi Amirani turns his attention to the coup itself, his film snaps into shape, with Walter Murch skillfully knitting together new and old interviews to lay out the story in highly dramatic form.
  15. Picture of His Life
    Amos Nachoum has a vulnerability that he manages to locate in animals without diminishing their capacity for violence.
    • 68 Metascore
    • 75 Critic Score
    Police Story 2 (1988)
    Though ostensibly sub-Hitchcockian wrong-man mysteries, with a liberal serving of cop-drama clichés rounding out the narrative framework, the films are better enjoyed as purely cinematic catalogues of set pieces and sight gags, spectacles of breathless physical excess.
  17. Possum
    In the end, there's little payoff for all the repetitive series of evocative visions and mute stares.
  18. Winter Brothers
    If nothing else, the film is a feat of formal conception and craftsmanship.
  19. Damsel
    It's well established by now that the mythic Old West was always a trope written and controlled by men, and that there's really no bottom to which men won't stoop when women are a scarce quantity. In its mad rush toward performative allyship, the film exhausts every possible means of conveying those bombshells.
  20. Let the Sunshine In
    Claire Denis finds the inexorable beauty (and sadness) in that most corrosive and fugacious of feelings.
  21. The Rider
    It manifests a mounting sense of disillusionment, suggesting that the rodeo lifestyle many characters so unreservedly romanticize often leads to physical and psychological ruin.
  22. Zama
    How strange and apt that the year’s most sensorially and ideologically dense film is also a comedy of microaggressions, built on the minor workplace humiliations of a pencil-pusher in the 1790s.
  23. Ismael's Ghosts
    Arnaud Desplechin’s latest simultaneously collapses and expands his entire body of work, reflexively revealing its many layers, like a pop-up book.
    • 78 Metascore
    • 75 Critic Score
    Police Story (1985)
    Like many of the most compelling martial-arts movies, the Police Story films more closely resembles a dance picture than any kind of action blockbuster, with meticulously choreographed fight sequences standing in for fan-baiting musical numbers.
  25. Western
    The absence of anything traditionally "painterly" reflects an ambivalent attitude toward the kind of capitalistic pro-growth machinations on display in the film.
  26. Before We Vanish
    On its own, this is a fun, broadly satirical alien-invasion film, more self-aware than self-serious, but its beauty, its poignancy, comes from its relationship to Kiyoshi Kurosawa's other work.
  27. Lover for a Day
    The film is yet another of Phillippe Garrel's densely anecdotal studies of romantic fidelity.
  28. The Other Side of Hope
    The Other Side of Hope fulfills the vague sense of its aspirational title as a film limited in scope and led only by the guidance of its maker's skeptical positivity.
  29. Mudbound
    As striking as Mudbound's combat scenes are, they largely exist as setup for the postwar-set second half of the film, which scrutinizes the way that the atrocities witnessed in Europe laid bare the unsustainable hypocrisy in America's own bigoted divisions.
  30. On the Beach at Night Alone
    Hong Sang-soo simultaneously positions filmmaking as the ultimate act of atonement and evasion, eviscerating himself so that he may live to stage several more films about the futility of getting hammered and worshipping and bedding gorgeous young women.
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