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. Oliver & Company
    Oliver & Company is as out-of-touch as anything the studio ever made.
  2. Child's Play
    Child’s Play is only a shade more terrifying than Teddy Ruxpin.
    • 55 Metascore
    • 100 Critic Score
    They Live
    It’s an effective ploy, forcing us to confront certain basic facts about the state of the world around us without sounding preachy, and it articulates a decidedly working-class anger in response to social iniquity without sounding self-righteous. And it does all of this while retaining the surface appeal of its B-movie origins, frequently (and entertainingly) indulging in the seductive spectacle of ghouls and guns in combat—though always with ulterior motives.
  4. The Lair of the White Worm
    Cheap effects and gratuitous displays of nudity only heighten the film’s delirious demeanor.
    • 86 Metascore
    • 100 Critic Score
    Distant Voices, Still Lives
    Davies transcends the facile trap of misery-porn by tapping into the basic notion that could make musicals so enlivening—music as direct expression, music as emotion felt. One of the most profoundly spiritual films in recent decades.
  6. Waxwork
    Waxwork is certainly no hidden horror gem, but its flashes of wit and genuine enthusiasm for the horror genre are enough to make it a reasonably enjoyable time.
  7. Poltergeist III
    At its best, Poltergeist III recalls that surreal mix of DIY ingenuity and narrative ineptitude that mark some of Lucio Fulci’s lesser efforts. At its worst, well, it’s just another soulless, hacky-tacky horror sequel.
    • 41 Metascore
    • 38 Critic Score
    Crocodile Dundee II
    The sequel exacerbates problems already too evident in the first movie, most painfully the near-total disposability of Kozlowski’s Sue, who spends most of the time reacting to Mick’s quirks with chuckles. No battle of wits, no rejoinders. Sue accepts Mick’s ways wholesale; there’s never any hint at a possible tension between their lifestyles.
  9. Maniac Cop
    Maniac Cop is the type of movie that you would want to watch through the slits in a sewer grate, only its execution sits perched well above its scummy aim, and the end result is that you feel guilty for wishing for something more perverted.
  10. Critters 2
    Critters 2: The Main Course offers a heaping helping of everything that’s missing from the first film: a reasonably intelligent and witty script, a supple and unchained playfulness, and an anarchic mélange of diverse genre riffs.
  11. Powaqqatsi
    Powaqqatsi is every bit as viscerally engaging though less provocative than its predecessor.
  12. Brain Damage
    This gnarly gem of 1980s-era punk horror still looks and sounds a little rough, but the film and the supplements justify the plunge.
    • 87 Metascore
    • 88 Critic Score
    My Neighbor Totoro
    It’s a film that proves time and again that life itself is the grandest, most galvanizing of all dramas.
  14. Beetlejuice
    McDowall deftly keeps one foot in the here and the other in the hereafter, which allows Burton a unique opportunity to juggle two sets of funhouse effects.
  15. Babette's Feast
    This impeccably plated set is as savory as the brains sucked out of a quail’s head by Jarl Kulle’s General Löwenhielm.
  16. School Daze
    School Daze is, if nothing else, a compelling time capsule of racial politics in the late ‘80s, ethnographically sealed-off in a hothouse micro-environment (an all-black college campus) that’s as constrictive as Lee’s varying plot threads and stylistic whims are profuse.
  17. Au Revoir les Enfants
    Part dream, part nightmare, the film vividly remembers a traumatic moment in time that cannot be forgotten.
    • 62 Metascore
    • 100 Critic Score
    Empire of the Sun
    While screenwriter Tom Stoppard supplies a literate script, it’s Spielberg’s peerless command of film technique that drives the film, with the director crafting a number of sequences that function as impressive examples of pure visual storytelling.
  19. Manon of the Spring
    This tonal shift transforms Manon of the Spring from a caustic morality play into something more reflective, an elegy to a way of life whose residents did not fully appreciate until they themselves had helped to end it.
    • 78 Metascore
    • 100 Critic Score
    House of Games
    His meticulous, largely self-taught directing style—dazzlingly showcased in House of Games, a master class in dramatically functional compositions and camera moves—should be mandatory viewing for any would-be filmmaker.
  21. Near Dark
    A romance, a western, and a totem to lost youth in an era ravaged by infection and addiction, it’s a high-water mark in a decade filled with exemplary genre fare. Borrowing from, and surpassing, the exceptional chemistry of Aliens’s tightly knit cast, the melancholic Near Dark is gorgeous even in its savagery, and one of pulp cinema’s greatest achievements.
  22. Hellraiser
    Barker’s vision cribs equally from the mythos of vampires and zombies, but Hellraiser‘s overriding ridiculousness (and nagging budgetary shortcomings) can’t disguise the fact that the movie is at least unwittingly a product of the AIDS crisis.
  23. The Garbage Pail Kids Movie
    Imagine parents sitting in the audience with their naughty children (who used their Cabbage Patch dolls as driveway obstructions for their Big Wheel obstacle courses) and feeling ruefully double-crassed.
    • 62 Metascore
    • 75 Critic Score
    Dragnet
    Dragnet winks at its source material often, but besides a committed lead performance by Dan Aykroyd and the return of Webb’s partner, Harry Morgan, little remains of the original show. This ain’t your grandmother’s Dragnet; it’s your deranged drunk uncle’s Dragnet.
  25. Harry and the Hendersons
    Unabashedly lefty sentiment colors the whole film.
  26. The Untouchables
    Steeped in De Palma's glorious violence and sinuous cinematography, but stripped of his tricky sensuality and his anarchic self-reflective wit, The Untouchables boils down to a lot of talk.
  27. The Dolls
    Dolls is still ultimately minor-key Gordon, exhibiting nowhere near the level of ambition or invention of many of his hot-house splatter classics, but it has been rendered with an artisanal level of craftsmanship that distinguishes it as an almost-hidden horror gem, ready for rediscovery.
    • 87 Metascore
    • 88 Critic Score
    Tampopo
    At bottom, Itami’s film is a zesty, albeit wholesomely satisfying, concoction concerned with the virtues of community and cooperation. Nonetheless, Tampopo also explores some darker regions in a number of vignettes that illuminate the often surreal intersections of sex, death, and other human appetites.
    • 55 Metascore
    • 63 Critic Score
    The Gate
    If you can get in touch with your inner 12-year-old, The Gate is a pleasant diversion.
  30. My Life as a Dog
    My Life as a Dog and its sublime vision of childhood will always be there to remind us of the filmmaker Hallström once was, and potentially could be again.
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