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. Mikey and Nicky
    Few films have so exquisitely captured how straight American men reveal their affections and insecurities to one another, as well as how they’re both threatened and awed by each other.
  2. A Star Is Born
    The film is equal parts I Will Survive and pop martyrdom, instigated by a star so enormous that she could likely bankroll the Department of Defense for the year of 1976 and still have money left over.
  3. Carrie
    Carrie, on the other hand, is frighteningly feminine, a slap in the face of those charging De Palma with misogyny as fierce as the one Betty Buckley whales across Nancy Allen’s face.
  4. Alice Sweet Alice
    Alice, Sweet Alice conflates the angst of adolescent sexual development with the fury of Catholic retribution, suggesting at times an analog version of David Fincher’s Se7en.
  5. God Told Me To
    God Told Me To is one of the key American horror films from the 1970s to mine the internally sexual, racial quandaries of a nation beset by one great civil rights catastrophe after another.
  6. Obsession
    Bujold’s enthusiasm as a performer redeems the entire picture, especially when she’s asked to perform flashback scenes that shouldn’t work, but, thanks to her, represent another of De Palma’s fearlessly experimental whims.
  7. The Outlaw Josey Wales
    The remnants of war are fractious and far-flung in Clint Eastwood's impressive revisionist western.
  8. The Tenant
    Polanski brilliantly evokes an evil society’s almost supernatural ability to recognize weakness in others and to punish all that is good.
  9. The Omen
    A bald-faced lamprey hitching its razor-tipped maw on the chassis of The Exorcist, The Omen’s Sunday-school parable of gothic Cathsploitation comes twice as thick and thrice as pious.
  10. Deep Red
    A great horror film about a weak man who, gazing into a vibrant pool of freshly spilled blood, learns just how little he ultimately knows.
  11. The Missouri Breaks
    A beautiful, gleefully weird vanity project that never quite coheres.
  12. All the President's Men
    All the President’s Men’s masterstroke is how it rejects mythologizing the pivotal history behind it, appropriately forgoing a climax by closing on a simple telex furiously relaying messages. The film doesn’t present two underdogs bringing down a president; it’s two reporters doing business as usual.
    • 68 Metascore
    • 50 Critic Score
    Face to Face
    Face to Face feels scattershot and incomplete, never adequately establishing connections between characters, motivations for significant actions, or even the simple causalities of time and space.
  14. Lipstick
    It’s Lifetime. It’s camp. It’s seriously confused, and it should speak directly to drag queens in straight relationships everywhere.
  15. Taxi Driver
    Hitchcockian unease permeates the film, but so too does a Godardian use of space and a Bressonian focus on obsession heighten the mounting sense of dread. These elements are groovy for film buffs but are mere icing on the proverbial cake; you don’t need to be in the know to relish Scorsese’s mastery of the form, and what may astonish even more than the creative prowess is how compulsively entertaining the results are.
  16. One Flew Over the Cuckoo's Nest
    The film remains a stunning collective of method acting and 1970s social critique.
  17. A Boy and His Dog
    The film is riddled with an unmistakably misogynistic bent, and can’t be bothered to supply one single likable soul.
  18. Hard Times
    Hard Times feels most like a brilliant prerequisite to the cinema of Michael Mann, a focused neo-western where the last man standing is the one truest to himself.
  19. Xala
    Widely regarded as Ousmane Sembène’s finest achievement, Xala is a cutting morality tale that equally blames the corruption of Senegal’s sociopolitical environment on Euro-centricity and African auto-destruction.
  20. Grey Gardens
    Grey Gardens remains one of the greatest and possibly only disaster movies that clearly benefits from not having seen the moments of reaping.
    • 87 Metascore
    • 100 Critic Score
    F for Fake
    F for Fake is one of the more wistfully humorous of Welles’s wrestlings with reality. Roguishly comic yet profoundly bittersweet and edited in seizures with a deliberate, manic grace, the film represents the most flamboyant of its director’s magical acts, with Welles himself acting on screen as the narrator/conjuror, pulling the curtain back again and again, each time only to reveal another stage and another curtain in a series of dizzyingly self-reflexive meditations on fakery.
  22. Race with the Devil
    Fonda might have been able to look good in most everything he was in, but even he can’t save a turd like Race with the Devil.
    • 56 Metascore
    • 75 Critic Score
    Rollerball
    Director Norman Jewison’s Rollerball remains a poignant and unusually prescient vision of our world as defined by Walmart and Exxon-Mobil.
  24. Nashville
    Stunningly, it isn’t even Altman’s best film (that would be McCabe & Mrs. Miller), but Nashville is still the movie that best embodies everything that was so freeing and generous and deceptively casual about Altman’s art, and it’s the film that best represents him as a uniquely American artist.
  25. Lancelot of the Lake
    Because Bresson’s cinematic personality is as deliberate and clean as it is, the viewer is tempted to chalk up the bizarre and moving experience of watching Lancelot du Lac to some latent spirituality or grace.
  26. Let Sleeping Corpses Lie
    Despite some satisfyingly gut-busting moments, The Living Dead at Manchester Morgue retains a very British stiff upper lip.
  27. Death Race 2000
    Death Race is a maladroit but exuberantly gamey mix of social commentary and blue-collar goofiness.
    • 91 Metascore
    • 88 Critic Score
    Monty Python and the Holy Grail
    In Holy Grail, they put their talents to work on a larger scale, mixing wonderful satires on the Medieval legend and lifestyle with tremendous comic timing and blatant dirty jokes.
  29. The Stepford Wives
    Forbes’s direction is uncluttered and makes excellent use of the long shot, and though the film threatens to run out of steam at each and every turn, it never runs out of ideas.
    • 65 Metascore
    • 88 Critic Score
    Black Christmas
    Black Christmas just may be the perfect antidote to the saccharine sweetness of most Christmastime fare.
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