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. House
    House has a superb premise that begs for a more ambitious framework, both formally and psychologically.
  2. Clue
    Clue is comfortable with its pedigree, even giddily enthused by it, which gives its creators freedom to produce not a nostalgic entertainment, but a sustained and sincerely old-fashioned entertainment, laced with wicked miscreancy.
    • 65 Metascore
    • 50 Critic Score
    Young Sherlock Holmes
    As a work of fictional imagination, Holmes is simply fascinating, and Young Sherlock Holmes attempts to unlock the source of that fascination. The film re-imagines the first encounter between Holmes and Watson from within the dusty honeycombs of a boarding school buried deep within the folds of Victorian London. What one finds there are fascinatingly incomplete portraits.
  4. Smooth Talk
    Throughout, Joyce Chopra patiently and shrewdly observes the contradictions of human behavior that Laura Dern brilliantly conveys.
    • 81 Metascore
    • 100 Critic Score
    To Live and Die in L.A.
    To Live and Die in L.A. exhibits a remarkable degree of kineticism, evident in several memorable chase sequences, the film’s headlong momentum abetted by Wang Chung’s dynamic score.
  6. Re-Animator
    It is almost as though these filmmakers are afraid they’ll never get the chance to make another one, and Re-Animator doesn’t hesitate in being an almost operatic, larger than life comedy of splatter. While it paints with a big (red) brush, it is never boring.
    • 56 Metascore
    • 63 Critic Score
    Flesh+Blood
    In the end, Verhoeven’s greatest irony, and the often pedestrian narrative’s most brilliant stroke, isn’t to decide in favor or against Martin. He’s of a piece with his nature, and he leaves the story as he entered it: unchanged and unbowed by the carnage he’s both witness to and agent of
  8. The Return of the Living Dead
    Suffice to say, this small offering from the horror genre is a hoot to watch, with never a dull moment.
  9. Phenomena
    The whole of Phenomena is less than the sum of its parts, but the parts are often terrifying and exhilarating.
    • 25 Metascore
    • 50 Critic Score
    The Hills Have Eyes Part II
    Wes Craven’s The Hills Have Eyes Part 2 is a bland, bloodless shambles. Sequel-making of the laziest sort, it’s nothing more than a perfunctory, undisguised cash-grab.
    • 62 Metascore
    • 88 Critic Score
    Fright Night
    What makes Fright Night such a hoot to this day, on top of the great performances, is the deft blending of humor and suspense that Holland manages to build in his story.
    • 59 Metascore
    • 63 Critic Score
    Follow That Bird
    While kids will and have enjoyed the film as a sweet-and-occasionally-exciting road trip with all their favorite Sesame Street friends, parents are presented with far deeper themes to consider.
  13. Day of the Dead
    Any real zombie fan knows that political parable and decomposing cannibal corpse gore go together like peanut butter and jelly, but Day of the Dead found the subgenre’s reigning master and poet-in-residence mismanaging the proper ratios a bit.
  14. Back to the Future
    Back to the Future stands up on its own as a well-oiled, brilliantly-edited example of new-school, Spielberg-cultivated thrill-craft, one that endures even now that its visual effects and haw-haw references to Pepsi Free and reruns seem as dated as full-service gas stations apparently did in 1985.
  15. Cocoon
    The film has something for everyone but, in effect, offers nothing of substance to anyone. The interplay between Ameche, Cronyn, and Brimley allow for some lively, even touching scenes in a product—and make no mistake, a product is exactly what it is—that is, at best, adequate.
  16. Lifeforce
    Watching Lifeforce now is to be reminded that even big-budget films were once allowed to be adventurous and idiosyncratic, even in the 1980s, and that American horror movies were once capable of being fun, sexy, and subversively empathetic.
    • 46 Metascore
    • 75 Critic Score
    Secret Admirer
    It’s relatively good. Of course, “relatively good” in the mid-‘80s teen-movie genre often means “not unwatchable,” and Secret Admirer doesn’t quite qualify as fresh or unpredictable...But it also has a handful of gratifying moments and nuances you don’t expect from the genre, starting with girls who eat and curse like boys.
  18. Girls Just Want to Have Fun
    But even from an objective viewpoint, Girls Just Want to Have Fun isn’t really a bad film, at least not in the ways in which we tend to define bad films. The acting is more than competent, there’s not much glaringly bad dialogue, the humor is inventive, and the song-and-dance is engaging.
  19. Friday the 13th: A New Beginning
    The tone is crude, raunchy, and leering, with kill scenes combined with more nudity than usual; we’re even invited to check out a hot chick’s body after her face has been sliced in half by garden shears.
  20. West Indies: The Fugitive Slaves of Liberty
    Med Hondo’s is a bravura spectacle of intellectual and cinematic daring.
  21. The Breakfast Club
    The quintessential Brat Pack vehicle, hampered by Hughes’s willingness to pigeonhole his protagonists in exactly the same manner as they accuse Vernon of doing, The Breakfast Club is hopelessly tethered to its era in ways that the same year’s other major high school-themed blockbuster, Back to the Future, isn’t.
    • 11 Metascore
    • 50 Critic Score
    The Dungeonmaster
    The Dungeonmaster is little more than a fitfully entertaining calling card meant to showcase Empire’s talented in-house special effects artists and stop-motion animators.
  23. Blood Simple
    There's a simple magnetism inherent in this kind of filmmaking, and the Coens know how to orchestrate it.
  24. A Nightmare on Elm Street
    Nightmare’s skill wasn’t that it invented such associations—which had already been thoroughly mined by its ’70s predecessors—but that it refined them in uniquely disturbing ways, drenching itself in an atmosphere of unreality positioned somewhere between waking and slumbering states.
    • 59 Metascore
    • 75 Critic Score
    Night of the Comet
    While it would be unduly dismissive to write off Night of the Comet as a cult film merely by association, a good bit of its ancillary charm is obviously owing to its resonant casting choices: Reuniting Beltran and Woronov in the wake of Paul Bartel’s blistering black comedy Eating Raoul adds extra spice to the one longish scene they share.
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