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. A Clockwork Orange
    If you watch Clockwork Orange and see that this is the game Kubrick is playing with us, giving us an avenue into understanding a corrosion of society, the film may be appreciated as his finest masterwork in a career full of them. Certainly, it’s his most human film, right next to Lolita in its refusal to judge its central character’s sickness.
    • 62 Metascore
    • 75 Critic Score
    Harold and Maude
    The effortless depiction of their growing camaraderie and unconscious courtship is one of Harold and Maude‘s great charms, as Ashby and screenwriter Colin Higgins transpose fading ideology into boundless truth across a modest framework of pitch-black exposition and glowingly pastoral aesthetic touches.
    • 93 Metascore
    • 100 Critic Score
    The Last Picture Show
    Delineates the quiet, desperate lives of the citizens of Anarene, Texas over the course of one year in the early 1950s.
  4. Daughters of Darkness
    Kümel’s impulse to remain on the waning edge of eroticism turns what could’ve been another cheap thrill into a genuinely unsettling examination of the human race’s most happily sanctioned form of vampirism: man-woman couplings.
    • 94 Metascore
    • 100 Critic Score
    The French Connection
    An electrifying achievement, drawing its high-voltage forward momentum from the collision of semi-documentary procedural, with its based-on-real-events verisimilitude, and downbeat rogue-cop revisionism.
  6. Black God, White Devil
    By depicting revolutionary fiascos in a critical yet sympathetic light, Glauber Rocha calls on us to imagine what we’d want a revolution to look like, rather than having it spoon-fed to us by those claiming to represent a power beyond ourselves.
  7. Let's Scare Jessica to Death
    Great auntie to waking nightmare movies about distaff insanity as diverse as Images, 3 Women, A Woman Under the Influence, and Mulholland Drive, Let’s Scare Jessica to Death spends 90 minutes tapping lightly but incessantly on its heroine’s fragile sanity, as though it were some sort of Fabergé S&M model egg.
    • 74 Metascore
    • 75 Critic Score
    The Panic in Needle Park
    Remembered mainly as the neophyte Pacino’s launching pad into Godfather stardom, the modestly scaled, harrowing Panic in Needle Park has over the decades proven to be nearly as influential as Coppola’s blockbuster, setting a cinematic template later used by Drugstore Cowboy, Requiem for a Dream, and a good deal of Sundance Channel fodder.
  9. Two-Lane Blacktop
    America exploded in the ’60s; Two-Lane Blacktop is the post-apocalyptic road trip.
  10. Walkabout
    Roeg shoots every figure in the film like an instructional visual subject, and it levels the philosophical playing field—whether man, or ant, or echidna, or gnarled tree stump, they’re all fodder for the experimental interplay of light, shadow, and space.
  11. Willy Wonka & the Chocolate Factory
    There is, of course, Gene Wilder as Wonka, the reason most people think they like this movie, and he’s a wonderful actor quite capable of hitting Dahl’s ambivalences (and he has a lovely entrance), but Stuart’s clunky stop-and-start pace and sketchy tone give him nowhere to go.
  12. Klute
    Pakula’s seminal detective thriller, which is truly a piercing examination of loneliness.
  13. McCabe & Mrs. Miller
    It could be the most authentic representation of wilderness life ever put on screen.
  14. Le Mans
    Le Mans needs to be rediscovered so that it can be hopefully embraced as one of star Steve McQueen’s finest hours.
  15. The Cat o' Nine Tails
    Structurally and thematically, Dario Argento’s The Cat O’ Nine Tails is an improvement over The Bird With the Crystal Plumage, even if the film’s non-linear convolutions of plot may purposefully distract. Set against a backdrop of genetic research and espionage, Argento’s formal obsession with allusions to seeing and sightlessness is on fierce display.
  16. Sweet Sweetback's Baadasssss Song
    Over 40 years after its release, Sweet Sweetback’s Baadasssss Song still retains its shock value, but even more so, it remains distinct as a work that cannot be squarely placed within a singular category.
  17. The Aristocats
    If there isn’t a single element in the entire film that’s not derivative of the studio’s then-recent past, you can’t blame them for sticking with what worked best—business models-cum-creative habits conditioned by horsewhip die hard, if at all.
    • 72 Metascore
    • 75 Critic Score
    Brewster McCloud
    What saves the film from curdled, wise-ass whimsy is the control Altman brings to the freewheeling material, to say nothing of the undercurrent of despair that keeps its absurdism bold and beguiling.
    • 65 Metascore
    • 75 Critic Score
    El Topo
    Alejandro Jodorowsky’s El Topo remains an enduring cult-film experience.
  20. Husbands
    One of Cassavetes’s greatest and most daring films.
  21. Original Cast Album: Company
    Throughout, Pennebaker’s camera moves in as close as it can to capture every moment of doubt, disappointment and rage in Stritch’s face. That even still viewers debate whether Stritch was playing up the drama of the moment for the cameras only underlines how deftly Pennebaker’s brief and unassuming film resides at the heart of the interplay between work, art, and performance.
  22. Five Easy Pieces
    Bob Rafelson directs in an exploratory manner that naturally syncs up with Nicholson’s intuitive performance, his formalism suggesting a fusion of vérité and expressionism.
  23. La Piscine
    La Piscine is, more than anything else, a work of vivid sensory delights.
  24. Beyond the Valley of the Dolls
    While Roger Ebert’s screenplay contains overt jabs at Hollywood’s culture of exploitation, Beyond the Valley of the Dolls cannot be called anything but sincere regarding its penchant for buxom female anatomy.
  25. Watermelon Man
    Gradually, Van Peebles turns stereotypical images of postwar bourgeois prosperity against themselves, leading to a denouement that feels oddly empowering in its total alienation from the status quo.
    • 75 Metascore
    • 88 Critic Score
    The Landlord
    With so many brilliant collaborators and points of view, whose movie—whose dream—is it anyway? Ashby seems to say it’s all of ours.
  27. A Man Called Horse
    Touted at the time of its release as a comparatively enlightened western, A Man Called Horse now looks like well-researched sensationalism—and is, admittedly, all the better for it.
  28. Mandabi
    Through it all Sembène maintains a steady, humanist touch.
  29. The Boys in the Band
    The sizzle of the bon mot-tossing ensemble, intact from the stage original, is bracing and fuels the film’s momentum, along with Crowley’s lacerating dialogue.
    • 74 Metascore
    • 88 Critic Score
    Frankenstein Must Be Destroyed
    Right from its stylish and violently kinetic opening, Frankenstein Must Be Destroyed establishes itself as one of the finest of the seven entries in Hammer’s Frankenstein cycle.
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