Slant Magazine's Scores

Select another publication »
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
view
per page
  1. Attack of the Killer Tomatoes!
    The really frustrating thing about Tomatoes is the toothlessness of its satire.
  2. The Boys from Brazil
    Jerry Goldmsith’s ominous score is reminiscent of his Oscar-winning work for The Omen but The Boys From Brazil is pure pomp and circumstance.
  3. Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles
    Chantal Akerman’s 1975 experiment in film form, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, is an astonishing work of subtextual feminism which has to count as one of the seminal films of the 1970s.
    • 57 Metascore
    • 63 Critic Score
    Up in Smoke
    That’s the trouble at the center of the benign but tepid ganja-classic Up in Smoke: Its toking Abbott-and-Costello duo are so content to simply drift away in clouds of smoke that the audience is often left behind looking for the jokes.
  5. Days of Heaven
    To hell with equivocation or beating around the bush: Terrence Malick's 1978 Days of Heaven is the greatest film ever made. And let the word film be emphasized, since Malick's sophomore masterpiece earns this exalted designation from its position as a work of pure cinema. [22 Oct. 2007]
    • 71 Metascore
    • 88 Critic Score
    Piranha
    Dante makes films that Spielberg’s id might make, movies that double down on pop cultural know-how and riotous thrills without pausing for anything so unentertaining as an earnest assessment of humanity.
  7. The Driver
    A visceral symphony of screeching tires and crushing metal.
  8. Convoy
    At its best, the film finds Peckinpah moving into a new poetry of non-violence, of movement associated with explicit, actualized harmony, but the director doesn’t trust himself, mistaking change of form for impersonal commercial stewardship.
  9. I Wanna Hold Your Hand
    Everything in I Wanna Hold Your Hand is pushed right up to the breaking point of absurdity. The lunacy of pop-culture infatuation is lent the undying fervor of a fever dream.
  10. The Fury
    Ultimately, The Fury is a film about pre-pubescence by a director whose work had finally reached the level of confidence reflecting a post-pubescent talent. The best of both worlds, baby, and barely legal.
  11. An Unmarried Woman
    Mazursky finds the politics in the wrinkles of human behavior, rather than contriving behavior to suit his politics.
    • 35 Metascore
    • 75 Critic Score
    The Toolbox Murders
    Bleak and unabashedly grubby, Dennis Donnelly’s The Toolbox Murders straddles the line between several intersecting genres.
  13. Eraserhead
    Eraserhead is an extraordinarily raw film that’s not so much an announcement of its filmmaker’s obsessions, but a complete, intimate, and heartbreaking fulfillment of them.
    • 70 Metascore
    • 75 Critic Score
    The Duellists
    The Duellists explores its own unique thematic terrain and limns its characters’ psychology with a perspicacity that’s all its own.
  15. Opening Night
    Opening Night hits closest to home in its long, haunting, tension-fueled riffs between Cassavetes and Rowlands, playing lovers on stage and former lovers off stage.
  16. 1900
    Bernardo Bertolucci’s film is a living, fluid organism that spans the distances between several poles of extremity.
  17. Rolling Thunder
    Essentially a liberal vigilante film that’s rife with all the contradictions that description implies, Rolling Thunder has a pared, weirdly principled grace that still packs a punch.
    • 47 Metascore
    • 50 Critic Score
    Bobby Deerfield
    Bobby Deerfield is not so much a failed vanity project as it is a groping, often sensitive and rather death-obsessed character study based on Erich Maria Remarque’s fatalistically titled novel Heaven Has No Favorites.
    • 79 Metascore
    • 75 Critic Score
    The American Friend
    From its engagement with genre tropes (particularly film noir), to its tangibly grimy urban backdrops, to its archetypal hero/villain dramatic dichotomy, there’s no mistaking the film’s American influence.
  20. House
    Equal parts brilliant, baffling, ridiculous, and unwatchable.
  21. Suspiria
    Argento’s deliriously artificial horror film owes as much to Georges Méliès and German Expressionism (specifically The Cabinet of Dr. Caligari) as it does to Jean Cocteau and Grimm fairy tales. =
  22. The Kentucky Fried Movie
    Uneven and amateurish, with a sense of vulgarity that’s now dated enough to seem downright Victorian, The Kentucky Fried Movie proves the maxim, “comedy is in the eye of the beholder.”
  23. The Hills Have Eyes
    The major saving grace of The Hills Have Eyes is that it’s better acted than probably any other film from Craven’s early period. Because of his emotionally bare nature, Robert Houston’s achingly implosive terror is more complex than your average male lead in a horror film.
  24. Orca
    A bald rehash of Jaws, only with the Moby Dick elements played up even further, Orca isn’t a cheap thrill (producer Dino Di Laurentiis was also the man behind the idiotic-but-exhilarating King Kong remake), but it sure does seem like it’s in a rush to finish.
  25. Sorcerer
    Rather than a fleeting image of violence, however, Friedkin’s cyclical, almost Kafkaesque insistence that politics revolves around now globalized, corporate power delegating hired guns to do under-the-table bidding across national boundaries announces itself through the soundscape, with Tangerine Dream’s electronic basslines substituting for bloodshed. No one escapes the suffocating corrosion of Sorcerer’s polysemous diegesis—not even Friedkin himself, as audiences and industry would have it.
    • 64 Metascore
    • 75 Critic Score
    Conversation Piece
    Conversation Piece, as a “last will and testament” (as many have come to indentify it), feels both like a stylistic and thematic reconciliation on the filmmaker’s behalf, and as such a work of important insight into one of the cinema’s great anomalies.
  27. New York, New York
    New York, New York, like most Martin Scorsese films, is about the trials and glories of making art.
  28. Cross of Iron
    Cross of Iron would almost seem a proper mea culpa by Peckinpah for his controversial career, and the pre-Dogville closing credit sequence featuring a risible, anti-patriotic photo slideshow reveals a director still capable of new and inventive provocation tactics.
  29. Eaten Alive
    With an enviable, well-stocked cast of character thespians and a carefully dilapidated motel set, Eaten Alive is all ingredients, no recipe.
  30. Annie Hall
    Woody Allen’s Annie Hall is made of such durable stuff that it’s liked even by many of the filmmaker’s detractors, and yet it had such a troubled production that it’s a miracle it exists at all.
Page:

Top Trailers

See all »
See all trailers »