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. Enter the Dragon
    The lack of sentimentality helps focus the viewer on what the film depicts exceptionally well, namely wanton bad behavior and enthralling, wall-to-wall ass-kicking.
  2. The Friends of Eddie Coyle
    Mitchum doesn’t remotely overshadow the film’s first-rate ensemble of character actors.
  3. Playtime
    With Playtime, Tati made one of the most fully inhabitable films ever.
  4. Dillinger
    This rough, lurid, pointedly un-preachy work of macho outlaw cinema, one of the best of the many John Dillinger movies, deserves to be better known.
  5. The Legend of Hell House
    The Legend of Hell House is a regrettably just-competent adaptation of a great American horror novel.
  6. The Offence
    Few genre films come as close to entering the abyss as Sidney Lumet’s The Offence, which effectively plays out as one elongated interrogation both of a single witness and the tortured psyche of Sergeant Johnson (Sean Connery).
  7. Soylent Green
    The film strikes a poignant chord with its chilling portrayal of a state-sponsored euthanasia program that utilizes movie-watching as a narcotic designed to help the sick and elderly die peacefully.
  8. Season of the Witch
    Romero’s own Belle du Jour, a tale of a lonely, neglected housewife whose discontent and suppressed erotic desires are efficiently conveyed in a series of bondage-tinged dream sequences.
    • 72 Metascore
    • 100 Critic Score
    Scarecrow
    Scarecrow embraces sprawl of both the narrative and geographical variety with freewheeling abandon.
  10. Sisters
    Though Sisters is an undeniably tight homage to Hitchcock from an obviously indebted De Palma, I am still inclined to place it at least a tier below the likes of Dressed to Kill and Body Double.
  11. The Crazies
    The Crazies lacks the nightmarish momentum of Romero’s best zombie flicks, but it’s no less astute with its allegorical potshots.
  12. The Long Goodbye
    The film is simultaneously an act of revisionism as well as a parody of then-revitalizing neo-noir.
  13. Black Mama White Mama
    Black Mama, White Mama became a key reference point for postmodern mash-up artists like Quentin Tarantino and Neveldine/Taylor, but the film’s socio-political jungle is not all fun-and-grindhouse games.
  14. The Poseidon Adventure
    A nightmarishly schematic fantasia of guiltless discomfort.
  15. Trafic
    If Playtime’s enormous scope was visionary, here Tati’s tone is that of a bemused, unshakably certain philosopher.
  16. Asylum
    Asylum tries telling similar tales (twice) and comes up pathetically short in the scare department, but the atmosphere and theatrics of the Amicus presentation make it a more than worthwhile trip down memory lane for die-hard horror buffs.
  17. Lady Sings the Blues
    It’s an amateur star performance-as-Stanislavski mail order catalog: a powerhouse of Method-ology (born more from a lack of acting experience than pop singers’ already refined sense of emotive abandon), complete with ingénue tics, a self-conscious display of age range, tentative ad-libs, flailing limbs, leaky eyes, precariously receding eyelids.
  18. Night of the Lepus
    William F. Claxton’s film is a radically dull riff on the nature-run-amok genre, utilizing what must’ve felt at the time like the only animal not yet exploited to scare audiences. But scares are exactly what the filmmakers didn’t get.
  19. The Last House on the Left
    It’s the ultimate Vietnam allegory, except there’s no room for peace here, just war.
  20. Deliverance
    Dickey taps into that stark mortal terror of abandoning control, where to become a wild man is somehow a form of connection.
  21. Late Spring (1949)
    Few films have expressed, with as much force and lyricism as Ozu’s Late Spring, the various emotions (melancholy, bittersweet joy, impassioned regret, taciturn resignation) associated with the ongoing, perpetual dissolution of “the world as we know it.”
  22. Le Samouraï
    Melville’s 1967 masterpiece, which—through assuming the same systematic attention to detail as its iconically cool protagonist—achieves an atmosphere of mesmerizing, otherworldly beauty and grace.
    • 92 Metascore
    • 75 Critic Score
    Frenzy
    With a very strong cast and sharp dialogue by Anthony Shaffer, Frenzy is easily the strongest of the master’s final works.
  24. Children Shouldn't Play with Dead Things
    Made on the cheap and inspired by early Romero, this zombie flick doesn’t even have the dead rise until the final half-hour. Until then, we’re stuck with an amateur theater troupe chattering away as they venture out to an abandoned island for a goofy séance.
    • 62 Metascore
    • 88 Critic Score
    Twins of Evil
    Twins of Evil benefits considerably from seasoned performances by a veteran cast that includes genre icon Peter Cushing, Dennis Price, and Kathleen Byron.
  26. Buck and the Preacher
    For all of Buck and the Preacher’s serious attempts to function as a revisionist western by centering Blacks in the narrative and examining the critical role they played on the frontier, it’s also a wildly entertaining film.
    • 100 Metascore
    • 100 Critic Score
    Tokyo Story
    In this exquisite merging of specific and universal, infinite and infinitesimal, Tokyo Story perhaps most clearly illuminates that Ozu is not the most Japanese of filmmakers, but the most human.
  28. Silent Running
    While the drones are still cuter than Ewoks, Lowell remains a cloying representation of a ‘70s acid freak shoving his save-the-trees mantra down your throat.
  29. There's Always Vanilla
    Unfortunately, the haphazard, showy cross-cutting between Laine’s to-the-camera narration and the flashbacks (sometimes to scenes he couldn’t possibly recollect) do little to hide the fact that Romero, like his aimless protagonist, seemingly couldn’t care less.
  30. Straw Dogs
    Sitting through Peckinpah’s controversial classic is not unlike watching a lit fuse make its slow, inexorable way toward its combustible destination—the taut build-up is as shocking and vicious as its fiery conclusion is inevitable.
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