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 Towering Inferno
    In nearly every reasonable sense it’s the far more accomplished of the two famed Allen disaster epics.
    • 69 Metascore
    • 88 Critic Score
    Messiah of Evil
    Willard Huyck and Gloria Katz’s eerily brooding Messiah of Evil remains an undervalued gem of American gothic filmmaking.
    • 67 Metascore
    • 88 Critic Score
    Phantom of the Paradise
    This is De Palma pouring the new wine of his formal inventiveness and anti-authoritarian irreverence into the old bottles of archetypal myths, and it remains a supremely entertaining anomaly within his filmography, yet entirely emblematic of his filmmaking sensibilities.
  4. Alice in the Cities
    What makes Alice in the Cities so noteworthy is the tender, lifelike rapport cultivated between Vogler and Rottländer.
  5. A Bigger Splash
    Jack Hazan’s portrait of David Hockney stands between documentary and fictional film, reality and fantasy.
  6. The Texas Chain Saw Massacre
    What separates Texas Chainsaw Massacre from its predecessors is its anarchic, cynical hysteria—its bizarre and dark-as-hell gallows humor.
    • 72 Metascore
    • 88 Critic Score
    It's Alive
    By turns frightening and heartbreaking, an aspect particularly reflected in John P. Ryan’s tormented performance as the baby’s father, the film is not only perhaps one of Cohen’s best films but one of the finest American horror films of the last 30 years.
  8. Bring Me the Head of Alfredo Garcia
    Like few modern films, Alfredo Garcia seems to not only be a product of a director’s singular vision, but a virtual window into one man’s fractured, tortured soul.
  9. California Split
    Altman’s disgruntled comedy California Split, aside from its typically busy soundtrack (it was the first movie Altman used eight-channel audio to capture all the dialogue), seems a relatively straightforward buddy film...it’s also an anti-buddy parable in which George Segal and Elliott Gould’s homosocial behavior is equated unflatteringly against their obsessive gambling addictions.
  10. Chinatown
    The exhaustive, labyrinthine narrative is built up like a fortress around this film’s bitter heart.
  11. The Seduction of Mimi
    The Seduction of Mimi is socio-political discourse, Italian style: Sex speaks louder than words on any given subject.
    • 68 Metascore
    • 50 Critic Score
    My Name Is Nobody
    Part elegy for the Old West, part in-jokey celebration of the spaghetti western’s popular ascendance over classical Hollywood models, My Name Is Nobody plays like a deeply schizoid production, albeit an amiable enough one that manages several brilliant passages.
  13. Thunderbolt and Lightfoot
    Of all the ’70s road movies, Thunderbolt and Lightfoot may be the only one in which the characters find themselves.
  14. Dirty Mary Crazy Larry
    Dirty Mary Crazy Larry is the rare exploitation film whose few redeeming qualities make up for its numerous shortcomings.
    • 88 Metascore
    • 100 Critic Score
    The Conversation
    A shout-out to Michelangelo Antonioni’s Blow-up, The Conversation perfectly encapsulates the disaffection, alienation, and paranoia infecting America’s body politic in the era of Watergate.
  16. The Beast Must Die
    When The Beast Must Die is ripping off The Most Dangerous Game, it’s an amusing, if minor, genre offering.
  17. Lady Snowblood
    A rape-revenge narrative so streamlined that even the gimmick of its achronological editing never muddies the progression of Yuki’s journey.
  18. Thieves Like Us
    This isn’t simply another version of the mythologizing tactics that saw Bonnie Parker emulating the flappers from Gold Diggers of 1933 in Bonnie and Clyde. Altman refuses to romanticize his characters’ impressionable innocence, but nor is he resolute to assert cultural impregnability either. Instead, Altman’s emphasis lies in locating the specificities of historical time and understanding how socially constructed mythologies come to proliferate in the first place.
  19. Blazing Saddles
    A limp, shapeless mess of a film trades in a genuine respect for westerns’ tropes for purile vulgarity and joy-buzzer showmanship.
  20. The Last Detail
    The Last Detail is so perfectly tailored to the star that it could’ve been mapped out from a Pythagorean theorem.
  21. Don't Look Now
    It figures that the sex scene from Nicolas Roeg’s Don’t Look Now has become more legendary than the film itself. Forget that Julie Christie and Donald Sutherland were off-screen lovers at the time, the film’s infamous bedroom romp is every bit as devastating and organic as anything else in the film.
    • 68 Metascore
    • 50 Critic Score
    Horror Express
    The best that can be said for Horror Express is that it doesn’t take itself at all seriously, and it isn’t too proud to steal outright what other films politely borrow.
  23. Fantastic Planet
    Fantastic Planet’s blend of straightforward, almost elementary storytelling (any missing context is filled in via a voiceover by Jean Valmont as the adult Terr) with heady themes and eroticized imagery marks the film as a relic of an era with much looser standards around the dichotomy of the children’s film and the adult drama.
  24. Stereo (Tile 3B of a CAEE Educational Mosaic)
    Even the director’s most rabid fans will find Cronenberg’s debut to be a tough sit.
  25. The Holy Mountain
    The Holy Mountain is nothing if not exuberant while cartwheeling its way through the cosmos and back through the non sequitur-strewn plains and deserts, towns and cities, ridges and ranges of Mexico.
  26. Robin Hood
    If Robin Hood’s charmingly sh**ty animation comes damn close to redeeming the film from utter vapidity, it’s a damn shame they couldn’t manage to supply a villain with the balls of an Ursula, a Cruella, or a Maleficent.
    • 76 Metascore
    • 100 Critic Score
    Charley Varrick
    Ultracool.
    • 94 Metascore
    • 100 Critic Score
    Badlands
    Where it’s not refined in form, Badlands is so by virtue of the specificity of its material (the then-topical sensationalism of teenage sociopaths and their glamorization in popular culture), a fact that has been buried by the dense literature published on Malick. Yet the film never once feels like the faded photos Holly examines under her father’s stereopticon.
  29. The Bitter Tears of Petra von Kant
    Bitter Tears offers a sensory feast that’s expanded on by the elaborate dialogue, which is poetic even as translated into English, and by the astonishingly sensual and fluid movements of the actors and the camera.
  30. The Mother and the Whore
    Jean Eustache obliquely puts on trail the self-reflexive cool of the early New Wave films.
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