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 Oak
    The film’s naïve utopianism is infectious, demanding that we live as though life were worth it in spite of all evidence to the contrary.
  2. Aladdin
    Aladdin is ultimately less offensive than patently ridiculous, mostly because its ethnic white noise is really just an excuse for Robin Williams—as a postmodern blabbermouthed genie who grants Aladdin three wishes—to put on the most elaborate, narcissistic circus act in the history of cinema.
  3. Bad Lieutenant
    It is boldly NC-17, but unlike most exploitation cinema, Ferrara can’t seem to help himself from making the film a personal, frightened psychic diary, a pitiful shriek for help, and a powerful statement about how even the damned can achieve a moment of fleeting grace.
  4. Malcolm X
    With Malcolm X, Lee doesn’t so much inject his sensibilities into the lifeline of his subject, but rather comes to see how his place as a film director can be integrated within the social movement of X’s message.
    • 83 Metascore
    • 100 Critic Score
    Intervista
    Here, Fellini effortlessly weaves together various registers, aesthetic and otherwise, continually undercutting whatever level of “reality” seems to be in front of the camera(s) at any given time.
  6. Candyman
    Rose’s dizzy, Jungle Fever-ish romanticism is juxtaposed against his cold, Cronenbergian dystopia to create Candyman‘s uniquely baroque use of modern urban blight, subtle political undercurrents, and hints of fallen woman melodrama. It creates a startlingly effective shocker that gains power upon further, sleepless-night reflection.
  7. Husbands and Wives
    Allen bravely posits one’s fear of change and the comfort in finiteness. In the end, Husbands and Wives becomes a mirror of false illusions, relentlessly held up by Allen before the faces of anyone who has ever looked for a reason to leave only to sheepishly stay behind.
    • 65 Metascore
    • 63 Critic Score
    Sneakers
    It’s a surprise to discover a cerebral, 25-year-old film following the blueprint for today’s endless glut of superhero movies. It certainly operates on this level for the masses.
  9. Twin Peaks: Fire Walk with Me
    A torrid journey through the subconscious of a little girl lost, Fire Walk with Me is also a cautionary tale of sorts, the sad chronicle of a sleepy town trying to rid itself of its dirty laundry.
  10. Unforgiven
    Unforgiven brought the revisionist revenge film into the 1990s and, by extension, the 21st century
  11. Raising Cain
    Rather than clarifying, De Palma’s technique with Raising Cain effectively obliterates the audience’s bearings. Which gives the film’s final sequence—on the surface a shameless swipe from Dario Argento’s killer reveal at the climax of Tenebre—a nasty twist.
  12. No Fear, No Die
    As with Claire Denis’s previous Chocolat, emphasis is placed both on how the French legacy of colonialism persists into the present, as well as how Black men are often filtered through the white imagination to ruinous ends.
  13. Death Becomes Her
    Death Becomes Her is one of the few mainstream comedies that you don’t feel even had to try to be outlandish. It was simply born that way.
  14. Society
    Society never entirely decides whether it’s a plot-centric horror-mystery or an imagistic fantasy; the film’s self-conscious emptiness drains the incestuous conceit of its shock value, defanging a nervy gross-out.
  15. Europa
    Von Trier and his three cinematographers fashioned a handmade, retro pastiche with a small, dried-out heart.
  16. Porco Rosso
    It's in this view of the military life, and competition in general, that Porco Rosso reveals itself to be one of Miyazaki’s most personal works.
  17. Daughters of the Dust
    This is a work of art that's as much a cinematic probe, and a challenge to mythologizing past eras, as it is an ancestral history lesson.
    • 72 Metascore
    • 88 Critic Score
    JFK
    JFK still retains a primal power; no number of derivative, headache-inducing CSI episodes can blunt the impact of Stone's aggressive visuals, and the film's plea for accountability and honesty in government is as vital now as ever.
  19. Night on Earth
    Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant, presenting these divisions as virtually meaningless social constructs which merely breed unnecessary contempt.
  20. Homicide
    The Pulitzer-winning playwright’s movies are often a few steps ahead of their audiences, but Homicide seems to have intuitively anticipated its now-exemplary status.
  21. Harley Davidson and the Marlboro Man
    Harley Davidson and the Marlboro Man is one passable joke stretched out over 98 minutes with nothing in the way of a real movie to support it.
    • 60 Metascore
    • 63 Critic Score
    Point Break
    In terms of Hollywood history, Bigelow's film is the perfect document of its time.
    • 70 Metascore
    • 88 Critic Score
    City Slickers
    Equally self-reflective and enjoyable is the score by Marc Shaiman and Thomas Richard Sharp that cuts a sweeping western theme into the waltz and college-sports tunes that color the film’s animated title sequence and then throughout its more comic set pieces—not even cutting out entirely during Crystal and company’s rendition of the Bonanza theme song. Rather, like the film itself, it beautifully accents Crystal’s high notes.
  24. Madonna: Truth or Dare
    In essence, Truth or Dare is less of a concert film than an elaborately constructed exegesis on pop mythmaking and the construction of identity.
  25. The Garden
    Derek Jarman’s 1990 film isn’t without hope that we can regrow a paradise.
    • 27 Metascore
    • 88 Critic Score
    The Bonfire of the Vanities
    For all its polish, Bonfire of the Vanities neither sustains the feverish, revolutionary energy nor reaches the visceral peak of Hi, Mom! But as major Hollywood pictures go, it can become stunningly hot-tempered, a quality most journalists are too quick to ignore.
  27. Night of the Living Dead
    So yeah, if you can’t tell already, my giddiness has by this point evaporated, but my staunch belief in this muddled little gem has not yet substantially wavered.
  28. An Angel at My Table
    Jane Campion upends staid genre convention with an impressionistic approach to character.
  29. White Hunter Black Heart
    White Hunter, Black Heart finds Eastwood reaching a peak in the fields of both film direction and acting.
  30. Opera
    Opera is a violent aria of memory, bad luck, the artistic drive and the horror of the stare.
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