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 Tarnished Angels
    Like Billy Wilder’s Ace in the Hole, which creates a damning critique of media circuses that would allow a man to die if it means increasing readership, The Tarnished Angels understands the innate human desire to look at beauty or terror as the potentially catastrophic fuel of public interest.
    • 90 Metascore
    • 63 Critic Score
    Paths of Glory
    Paths of Glory may be first-rate humanity, but it’s also second-rate art.
    • 88 Metascore
    • 100 Critic Score
    The Bridge on the River Kwai
    Whereas Lawrence of Arabia and Doctor Zhivago feel more pictorial than cinematic, The Bridge on the River Kwai carefully builds its psychological tension until it erupts in a blinding flash of sulfur and flame.
  4. Peyton Place
    This was hot stuff in the mid-’50s, but beneath the sleazy coating covering the film (camp aficionados take note) is an unabashed and moderately retrograde plea for community openness.
    • 80 Metascore
    • 75 Critic Score
    3:10 to Yuma
    The offhand wryness of Elmore Leonard’s original story is nicely captured in Halsted Welles’s adaptation.
    • 71 Metascore
    • 88 Critic Score
    An Affair to Remember
    A remake by Leo McCarey of his own 1939 classic Love Affair, the film progresses as a graceful switch from romantic comedy to weepie melodrama, reflecting the director’s deep-rooted belief in the intricate bond between laughter and tears.
  7. A Face in the Crowd
    Strong performances and a fiery aggressive tone keep things moving, but A Face in the Crowd is dated and not particularly deep.
  8. 12 Angry Men
    What's most interesting about the intense deliberations that ensue, specifically when a piece of seemingly indisputable evidence is brought back into question, is how a fresh angle and perspective, usually born from Juror 8's critical thinking, can permanently alter the tone of the discussion.
  9. The Wrong Man
    The sense of moral responsibility in Hitchcock’s films may have never felt more imperative and succinct.
    • 84 Metascore
    • 63 Critic Score
    Giant
    Sitting through it is like cramming a decade’s worth of daily television-watching into a single sitting.
  11. The Bad Seed
    The Bad Seed might not have the lurid veneer of Oedipal conflict that turned The Good Son into a supreme guilty pleasure, but it’s got more false-façade performances than you could ever hope for.
  12. The Killing
    One of the great devils of 1950s American cinema.
  13. Ikiru
    Ikiru wows for its complicated interrogation (and innovation) of subjective, cinematic experiences of time and memory, but lulls in its commemoration of a wealthy, privileged man who finally decides to care after it’s absolutely confirmed he has no time left to live.
  14. Richard III
    Donning a doozy of a puttied schnoz, a slightly exaggerated limp, and a boyish, midnight-black wig, Sir Laurence Olivier feels more at home in the eponymous role of his own adaptation of Richard III than he does in any of his other storied roles, holding and releasing the succulent prose with unerring confidence and clarity.
  15. Invasion of the Body Snatchers
    This is the most disturbing spin on the invasion premise, because it still permits the simple, classical predator/parasite interpretation, but, at the same time, makes the infiltration total, because the snatchers don’t just take your body, your memories, your brains—they take you. All of you.
  16. The Burmese Harp
    Ichikawa Kon’s 1956 film The Burmese Harp is a tender almost-musical film about the horrors of war and the obliteration of identity.
  17. All That Heaven Allows
    The frothy May-September (well, closer to June-July) romance All That Heaven Allows is the fountain from which directors as disparate as Rainer Werner Fassbinder, Todd Haynes, and John Waters have all drunk, marking it as the most influential of the 20-plus films Sirk directed during the 1950s.
  18. El
    Though set in Mexico and ripe with authentic details from daily life, Él is less a portrait of machismo gone awry than it is a brutal and absurd glimpse at one man’s runaway paranoia.
    • 89 Metascore
    • 100 Critic Score
    Rebel Without a Cause
    Where the attitudes of "East of Eden" are hopelessly dated and broad, the poetic longing for connection in Rebel Without a Cause will always feel timeless.
    • 82 Metascore
    • 75 Critic Score
    To Catch a Thief
    Hitchcock and screenwriter John Michael Hayes posited voyeuristic spectacle as the essence of cinema in Rear Window; in To Catch a Thief they validate their thesis with plenty of spectacle to be voyeuristic over.
  21. The Night of the Hunter
    Perverse yet remarkably life-affirming, Night of the Hunter may be the best film ever made about spiritual perseverance.
  22. Lady and the Tramp
    Befitting its middle-ish chronological position, it’s not surprising that the serviceably cute but mundane Lady—a turn-of-the-century ditty about two love struck dogs from opposite sides of the gated community—might be the most ignorable, least assertive production of their golden era.
    • 72 Metascore
    • 63 Critic Score
    East of Eden
    Even viewers who acknowledge Kazan’s lack of visual imagination usually concede that nobody got better performances out of actors, but this last vestige of his reputation is in real need of examination.
  24. Blackboard Jungle
    Poitier’s acting is scalding hot. If The Blackboard Jungle is worth anything, it’s for bearing witness to a major star in the making.
  25. A Star Is Born
    Despite A Star Is Born’s musty jabs at movieland decadence in the wake of satires like Sunset Blvd. and The Bad and the Beautiful, it was the craft found in Cukor’s alternately splashy and shadowy mise-en-scène, and displayed by Mr. James Mason, that most greatly aided Mrs. Sid Luft.
  26. Brigadoon
    At least the dancing is good, and Vincente Minnelli’s restless camera gooses a plodding story into liveliness.
  27. Magnificent Obsession
    Magnificent Obsession was a decisive turning point for Douglas Sirk, kicking off a beloved string of loopy ’50s melodramatic masterpieces.
  28. The Caine Mutiny
    The Caine Mutiny is not distinctive filmmaking or storytelling, and its idea of ethical debate is relying on familiar archetypes and arguments. It sure is standard, though. It’s like the well-constructed house that’s not meant to be distinctive, but was made to endure.
  29. Monsieur Hulot's Holiday
    Tati biographer David Bellos called 1953’s Monsieur Hulot’s Holiday “Tati’s most perfect film,” and in many ways, it’s difficult to disagree with this sentiment in terms of tone and form.
  30. Dial M for Murder
    What tends to make even lesser Hitchcock films shine is his innate gift for directing performers, and this accounts for many of the pleasures of this ditty.
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