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. The Killers
    The Killers redux packs one lasting, significant, retrospective jolt of perversity that far eclipses any possible artistic intentions on the part of its creators though: the sight of future American President Ronald Reagan playing a baddie in his last film role before entering politics.
  2. Zulu
    A good platter for a great, underappreciated classic of British cinema (under the direction of American expatriate Cy Endfield)—light on supplements but strong in presentation.
  3. The Patsy
    The Patsy reflects a genuine affection for the artisans and jacks-of-all-trades that make careers like his possible.
  4. An Autumn Afternoon
    The progression of Ozu’s style seems to parallel that of Jacques Tati, who moved from the mutable likes of M. Hulot’s Holiday into the glass-cut inflexibility of Playtime.
  5. Black Sabbath
    Black Sabbath speaks to the vastness of Bava’s abilities in the realms of the terrifying and the supernatural.
    • 83 Metascore
    • 75 Critic Score
    The Naked Kiss
    It’s Sirk-on-a-shoestring, and twice as cynical.
  7. Dead Ringer
    The film, meekly directed far across the soundstage by former actor Paul Henreid, is a potboiler filled with oh-so-convenient plot twists and purely incidental characterizations.
  8. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    Dr. Strangelove is unique as an American studio film in that nearly every scene addresses its alignment of military action with sexual impotence and bodily excretion. It’s possibly the filthiest studio comedy ever made, even though there isn’t a single gross-out gag, curse word, or graphic image in its entire running time.
  9. America America
    Filmed with a cast of largely nonprofessional actors, America America immediately strives to impress its audience with the raw reality of its immigrant narrative.
  10. Charade
    Shot by Charles Lang, one of the greatest American cinematographers to ever live, Charade is some sort of miraculous entertainment, self-aware and self-parodying yet never distancing or detached. Hepburn is the audience’s funny and flighty proxy, allowing us the great pleasure of being seduced by Grant’s unpredictable charmer.
  11. High and Low
    High and Low is a masterful cinematic elevator connecting two warring social perspectives, finding a common ground between them in the pressurized corners of the classic crime drama.
    • 59 Metascore
    • 63 Critic Score
    It's a Mad, Mad, Mad, Mad World
    For a three-hour, epoch-ending epic made by a comedy neophyte, it yields a treasure of showbiz lore.
  13. Lord of the Flies
    Brook renders savagery with the despairing eye of a humanist, and with the irresolvable ambivalence of an artist.
  14. Dementia 13
    Dementia 13 has always been a chilling and confident horror mixtape, fashioned by a man who was a few years away from consecutively producing four of the most famous of all American movies.
  15. The Great Escape
    The Great Escape is that rare war film that doesn’t fully indulge in assumed nationalism, save for the fact that everyone speaks English. Sturges never touches on the essential hollowness and cruel pageantry of war, but he does the next best thing by depicting an international effort where victory, no matter how short-lived, depends on the cooperation of myriad talents, rather than the gruff can-do attitude of an unbreakable chosen one.
  16. 8½
    8½ works best as a self-deprecating comedy, a fact revealed most forcefully in the folly of film production on display.
  17. Cleopatra
    Cleopatra is, disappointingly, neither a visionary masterpiece nor a fascinating catastrophe, but something altogether more banal: an unusually intimate epic that falls very flat.
  18. Irma la Douce
    If not exactly an endearing experience on the whole, Irma la Douce is a fine example of Billy Wilder’s mid-career eccentricity and cosmopolitan curiosity.
  19. Hud
    Remarkably dull Hud more or less plays out as a home-on-the-range knock-off of Nicholas Ray’s brilliant Rebel Without a Cause.
  20. Sanjuro
    Sanjuro is still a lesson from a master in mounting choreography and sustaining momentum, though it remains more of an exercise rather than a work of flesh and blood.
    • 47 Metascore
    • 50 Critic Score
    The Young Racers
    The Young Racers mostly succumbs to the streak of pretension strongly felt beneath the hubristic surfaces of more than a few Corman features.
    • 75 Metascore
    • 75 Critic Score
    What Ever Happened to Baby Jane?
    That undeniable off-screen friction only helps grease the wheels of the film’s compulsive forward momentum, supplying a crackling energy to scenes wherein, among other gothic horrors, pet birds are served up for supper with relish.
  23. Cléo from 5 to 7
    Varda captures the fairy-tale essence of early-’60s Paris with a vivacity and richness that rivals Godard’s Breathless.
    • 97 Metascore
    • 88 Critic Score
    Jules and Jim
    It represents some of the first and most essential steps into a new age of filmmaking.
    • 69 Metascore
    • 63 Critic Score
    Experiment in Terror
    Credit the film’s modest virtues to Edwards’s undeniable verve as a visual stylist. Still, with a running time slightly over two hours, Experiment in Terror is a bit too protracted to count as an unqualified success.
  26. Good Morning
    This profound film reveals that nothing is below the purview of existential contemplation, even all matters of flatulence, and words as simple as “Good morning” are revealed to contain fathomless multitudes.
    • 79 Metascore
    • 75 Critic Score
    El Cid
    There’s no denying El Cid‘s lucid grandeur as it reaches its famous climax, a simultaneously triumphant and tragic portrait of the warrior as corpse that, like the best of Mann’s work, never neglects the human toll of heroism.
  28. Splendor in the Grass
    Inge’s scenario unravels alarmingly once the two would-be lovers start to drift apart thanks to Deanie’s nervous breakdown and the simultaneous (almost psychically connected) market crash of 1929, but the first half of the film is a tour de force of deferred urges, contortion acts of awkward intimacy, and the thrill of adolescence.
  29. Breakfast at Tiffany's
    Blake Edwards’s discontent-but-charmed portrait of a long-lost New York state of blithe is, like most Blake Edwards films, narratively scattershot but reliably fixated on the cinematic chemistry of social relations in a mod (and post-mod) era, which invariably boil down to genders and the extent to which individuals ascribe to their assigned sex roles.
    • 90 Metascore
    • 88 Critic Score
    The Hustler
    With solid performances, a great jazz score by Kenyon Hopkins, and a virtual clinic in how to do black-and-white cinematography thanks to Eugene Shuftan’s camerawork, The Hustler reaffirms your faith in the movies.
Page:

Top Trailers

See all »
See all trailers »