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. Operation Homecoming: Writing the Wartime Experience
    By acknowledging and publicizing its subjects’ writing, the film proves a stirring tribute to those who fight; in their stories, it offers a potent reminder that war is a hell suffered both externally and—more permanently—internally.
  2. Rocky Balboa
    Stallone yearns to investigate the loneliness of a man who can’t get over the past, an endeavor which entails unwieldy speeches (delivered by the actor in his patented “yews guys” patois) and reflective shots of the city’s skyline.
  3. Casino Royale
    Casino Royale is one of the good ones and not just for the way it wittily recontextualizes several series touchstones.
  4. Sólo con tu pareja
    This sexy, often funny comedy about AIDS is missing one important thing: a crucial sense of danger.
    • 66 Metascore
    • 75 Critic Score
    Idiocracy
    Idiocracy is too scattershot and compromised to push the conceptual bleakness beyond the realm of lowbrow comedy, though Judge’s cultural ire remains bracing throughout: For all the characters’ slapsticky imbecility, Judge makes it clear that it’s their docile acceptance (read: political inactivity) that makes them true dumbasses.
    • 89 Metascore
    • 88 Critic Score
    When the Levees Broke: A Requiem in Four Acts
    Lee foregoes useless speechifying, opting instead to create an epic document of New Orleans’s struggle, death, abandonment and subsequent reconstruction (a requiem in four acts) that should prove instructive for years to come, if not in facts than for its emotional scope: an up-close, deeply empathetic and soulful journey through the stories that make up this catastrophe.
  7. Mission: Impossible III
    Shallow to its core and as propulsive as a runaway locomotive, it's the most blatantly summer movie-ish of the Mission Impossibles. And also, surprisingly, the most viscerally entertaining.
  8. The Death of Mr. Lazarescu
    Radiating a startling intensity, the film demands to be reckoned with.
  9. Silent Hill
    Despite its often-overwhelming nonsensicality, there’s ultimately something irresistibly fiendish about Silent Hill, which not only condemns holier-than-thou religious zealots, but also—if I understand its gruesome finale—seems to be firmly on the side of the Devil.
    • 71 Metascore
    • 50 Critic Score
    71 Fragments of a Chronology of Chance
    Format owes much to Short Cuts, but Haneke’s wintry vision lacks Altman’s sense of life overflowing beyond the frame.
    • 82 Metascore
    • 63 Critic Score
    Memories of Murder
    The film is overlong at 132 minutes, but never dull or predictable, especially in delivering an ambiguous ending that goes against the grain of most Hollywood slasher films. One wishes it strayed even further from the land of the Hannibal Lecter, then we’d really have something.
  12. Ghost in the Shell 2: Innocence
    Oshii’s attention to detail is ravishing and his distractions of time and space evoke what it must be like to be trapped within the confines of M.C. Escher’s “Sky and Water.” Pity then that Innocence is so impenetrable, both aesthetically and philosophically.
  13. Hero
    Hero is elliptical, primal, radically disjointed, and female-empowering. Everything a wu xia should be…and then som
  14. They Came Back
    It’s rather amazing how far the film is able to coast on its uniquely fascinating premise, even if it isn’t much of a stretch for its director: Campillo co-authored Laurent Cantet’s incredible Time Out, a different kind of zombie film about the deadening effects of too much work on the human psyche, and They Came Back is almost as impressive in its concern with the existential relationship between the physical and non-physical world.
  15. She Hate Me
    Most contracts are negotiated with John Hancocks, but in She Hate Me, deals are sealed with hot lesbian action. Spike, get a clue.
  16. King Arthur
    Revisionist mythmaking of the most bland variety, the Jerry Bruckheimer produced King Arthur purports to tell the true tale of the ancient British hero and his valiant Knights of the Round Table by stripping away the magic, mystery, and majesty of the fable and replacing it with grim n' grimy realism.
  17. Springtime in a Small Town
    The film exudes a sense of fleetingness; however static these lives may be, Tian's narrative perfectly evokes a changing season.
  18. Dawn of the Dead
    This new Dawn of the Dead doesn't stop to take a breath, and remains frequently scary and engaging in the moment without leaving much to chew on afterward.
  19. The Battle of Algiers
    Gillo Pontecorvo’s The Battle of Algiers is a political tract that understands itself also as a cinematic exercise.
  20. Ichi the Killer
    Unhinged even for Takashi Miike, Ichi the Killer suggests a bloody and ejaculate-stained Rorschach inkblot, reveling in ultraviolence that can be interpreted to flatter any adventurous audience's sensibilities.
    • 69 Metascore
    • 63 Critic Score
    25th Hour
    With all of its oversights and indulgences, 25th Hour is still a persuasive, undeniably fascinating film—watching Lee throw everything on his mind into the fray, no matter how irreconcilable with the story, makes for an interesting experience.
  22. Die Another Day
    The collection of clever quips on parade here are both tiresome and predictable.
  23. Spirited Away
    Miyazaki celebrates individualism and nature’s simple, untainted beauties, subsequently pondering the transcendent power of communication between the “inside” and the “outside.”
  24. In Praise of Love
    A sniveling diatribe from a great director beginning to resemble someone's senile grandfather.
  25. 3 Women
    3 Women is a daring piece of cinema that glides along the edge of weirdness and somehow manages not to fall off.
  26. Maelstrom
    Maelström earns its haunting, unpredictable ending, never exaggerating Evian’s moral dilemma. Still, without non-stop techno or the existential overtones of a Kieślowski morality tale, Maelström is just another Winter Sleepers.
  27. Ali
    Ali‘s narrative laxness comes at the fault of boxing time (a good one-third of the film’s three-hour time span is spent inside the ring). You say: But Mann knows how to direct a fight. But I say: So what?
  28. The Devil's Backbone
    With The Devil's Backbone, Del Toro pulls an Amenábar by dishing out sophisticated war commentary with bone-chilling dread.
  29. Mulholland Dr.
    Mulholland Drive is a haunting, selfish masterpiece that literalizes the theory of surrealism as perpetual dream state.
  30. Apocalypse Now Redux
    With its view of Vietnam as a colonial mud pit being raped by a post-rock generation, it’s as aimless as it is prescient. Coppola’s subjective use of technology (pathologically integrating operatic image and sound) evokes war as a psychedelic fugue state: timeless, horrifying, and affecting us all.
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