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. Toy Story
    The film is virtually perfect: Nary a frame goes to waste in the establishment and development of plot and character, with the occasionally deviant touch serving to neutralize a sense of overly manufactured calculation.
  2. Total Eclipse
    Despite its fascinating subject matter, Total Eclipse is both unflattering and loveless. Holland seems to care very little for the way Rimbaud and Verlaine’s crass relationship was channeled into words. Worse than DiCaprio’s accent are his and Thewlis’s ludicrous sex scenes.
  3. Halloween: The Curse of Michael Myers
    The Curse of Michael Myers’s supernatural angle is understandably its weakest link, seeing as it was the aspect of the film that test audiences disliked the most.
  4. Showgirls
    Showgirls is truly one of the only ’90s films that treats pop culture as a vibrant field of social economics and cerebral pursuit, and not merely tomorrow’s nostalgia-masturbation fodder.
  5. Hyenas
    Djibril Diop Mambéty’s 1992 film resonates primarily for its lacerating comedic writing and pacing.
  6. River of Grass
    Kelly Reichardt's film is a wry, appealingly raggedy look at the impossibility of conjuring up excitement from boredom.
  7. Living in Oblivion
    Director Tom DiCillo ingeniously structures the film as a trio of overlapping shorts that cumulatively suggest ripples emanating from a stone tossed in a pond.
  8. Safe
    We know nothing of this woman’s inner-traumas, the repressed memories or hidden pains of her youth, yet Moore, in an extraordinary milestone performance, gives us a glimpse inside Carol’s frail and lonely soul.
  9. Benny's Video (1992)
    Benny’s Video is a smug, contemptuous, passive-aggressive attack on the dehumanizing effects of media, without even the common decency to offer shrill sensationalism to punch up its subsequently feckless, reactionary, pomo assertions.
  10. Dear Diary
    As an auteur film, Nanni Moretti’s Caro Diario inhabits a kind of beyond, because instead of presenting a world filtered through his subjective lens, the filmmaker allows the viewer inside his very subjectivity.
  11. Arizona Dream
    Recalling the ‘70s shaggy-dog stories of Makavejev, Ashby, and Schatzberg, Kusturica’s French-financed American venture deserved better than the neglect it suffered in the blockbuster age.
  12. The Lion King
    Although far from the worst offender in Disney's canon, The Lion King is nevertheless host to many of the less savory qualities common to the studio's output.
  13. Phantasm III: Lord of the Dead
    Don Coscarelli outdoes the humor of John Hughes in what feels like a more honest version of the gleeful sadism in Home Alone.
  14. Serial Mom
    Serial Mom is the strongest film of the post-midnight-movie chapter of John Waters’s career.
  15. Bitter Moon
    As easy as it would be to make rude connections between the film’s raunchy shenanigans and Polanski’s own history, the fact is that Bitter Moon doesn’t feel like either an explanation, an apology, nor a defense of the kinky sexual games adults play. Think of it as Polanski’s Who’s Afraid of Virginia Woolf.
  16. Romeo Is Bleeding
    Romeo Is Bleeding projects an aura of obsessive self-consciousness that occasionally suggests the superior film that eluded its creators.
    • 78 Metascore
    • 88 Critic Score
    The War Room
    The buddy-film dynamic between braniac lead strategist James Carville and telegenic communications director George Stephanopoulos provides The War Room with a compelling through line and emotional cornerstone.
  18. Thirty Two Short Films About Glenn Gould
    From its rigorous and deliberately distancing structural gambit to its restless stylistic experimentations, Thirty Two Short Films proves that biopics needn’t color within the lines to effectively portray their subjects.
  19. A Perfect World
    Hancock lays the groundwork for Eastwood to transform what might have been an admirable, tightly told entertainment into something far more emotionally resonant, slyly self-aware, and rich in subtext.
  20. Carlito's Way
    Though the story in Carlito’s Way is treated in a fatalistic sense, the moment-to-moment, frame-to-frame experience is anything but rigid and stodgy from over-determination. It sings, dances, punches, slinks, embeds. It moves like the luxurious tracking shots that punctuate the film.
  21. Trauma
    Trauma is both an underachieving Deep Red and an unpolished facsimile of Stendhal Syndrome, and where Tenebre invites active spectatorship, Trauma is convoluted to the point of distraction, worth savoring solely for Argento’s excesses of gore.
  22. The Nightmare Before Christmas
    Whereas the film is a marvel to look at, it’s unfortunately not much in the song or story department, as Danny Elfman’s musical numbers are—save for the opening’s boisterous “This Is Halloween”—generally banal and unmemorable, and the plot, despite only having to fill out a paltry 76 minutes, ultimately as emaciated and insubstantial as its leading bags of bones.
    • 62 Metascore
    • 88 Critic Score
    Totally F***ed Up
    The total lack of pity and condescension carries the film over its rough spots and aimless patches. The endings of the director’s Teen Apocalypse Trilogy (of which Totally F***ed Up is the first part) may seem utterly desolating, yet they all move toward a rejection of negativism in favor of the harsh but inescapable complexities of the world. Life is f***ked up, Araki is saying, but it is worth living.
  24. The Age of Innocence
    Martin Scorsese captures the exquisite agony and pleasure of passion that’s forced to remain theoretical.
    • 46 Metascore
    • 63 Critic Score
    The Thing Called Love
    Such strained touches notwithstanding, The Thing Called Love charms and touches, not the least for revealing Bogdanovich as a rare filmmaker still interested in human behavior, keeping the action mostly in medium shots and extended takes to better catch the emotional nuances from character to character.
    • 54 Metascore
    • 75 Critic Score
    Body Bags
    That Body Bags largely succeeds, despite the perceptible lack of novel material, can be attributed to the strength of the assembled performances as well as the filmmakers’ attention to the dynamics of visual storytelling.
  27. Robin Hood: Men in Tights
    It should be said that this negligible absence of Brooks’s boundary hopping wit and untamed performances doesn’t quite render Men in Tights unwatchable. There’s an appropriate, albeit languid merriment to the proceedings kept alive by a few choice cameos (Dick van Patten, Dom DeLouise, Brooks himself) and a handful of gags that land on their feet.
  28. Hard Boiled
    There’s a moral “quality” to the bloodshed that you won’t find in your average Hollywood action film.
    • 75 Metascore
    • 88 Critic Score
    Orlando
    Rarely have source material, director, and leading actress been more in alignment than in Orlando.
    • 85 Metascore
    • 100 Critic Score
    The Long Day Closes
    The Long Day Closes posits its pubescent protagonist as a tiny camera absorbing and transforming the reality all around him.
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