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. Crime Wave
    A relentlessly unforced potboiler that gazes at noir through the looking glass.
  2. Creature from the Black Lagoon
    A much more antic, exploitative experience than the Frankenstein/Wolfman/Mummy/Dracula pictures it stands alongside, Creature from the Black Lagoon perfectly typifies the transition from older, more European horror styles into bloodthirsty schlock and ever-cheaper thrills.
  3. Hondo
    Hondo is a mash of the usual tropes, a whirlwind of Native American war paint, cavalry stripes, a sawdust-saloon poker game, a few fistfights, plenty of gunfire, and every moral equation coming to a satisfactory balance by the time the credits roll.
  4. The Band Wagon
    Only musical theater people will plug into this love-fest, breaking their arms patting themselves on the back. That’s entertainment?
  5. It Came from Outer Space
    Inspired by an outline by Ray Bradbury and modified for the screen by Harry Essex, It Came From Outer Space remains the granddaddy of the ’50s atomic-scare pictures.
  6. House of Wax
    It’s Price that gives House of Wax its characteristic balance of elegance and lurid theatricality.
  7. I Confess
    I Confess ultimately reveals itself to be one of Hitchcock’s most successful examinations of the tension between public image and private turmoil.
  8. Peter Pan
    Peter Pan, in retrospect, seems much more a footnote among the studio’s 1950s output.
    • 54 Metascore
    • 50 Critic Score
    The Star
    A threadbare, bargain-basement Sunset Boulevard, The Star features Bette Davis as Margaret Elliot, a washed-up actress hellbent on continuing her movie career.
    • 84 Metascore
    • 88 Critic Score
    Limelight
    A beautiful, melancholy meditation on aging and inspiration, and a personal film that, on account of Chaplin’s own diminishing popularity and prospects stemming from accusations of supposed communist sympathies, exudes a very real weight in each of its rich, elegant images.
    • 85 Metascore
    • 75 Critic Score
    The Quiet Man
    The Quiet Man remains one of the purest distillations of this charismatic filmmaker’s diverse artistic nature.
  12. The Tales of Hoffmann
    If The Tales of Hoffmann fails as an emotional journey, it is sensational as a music video.
  13. Singin' in the Rain
    Many things reinforce the enduring greatness of Singin’ in the Rain, but its most charming element is the filmmakers’ love for and dedication to the basic tenants of cinema as pure enchantment, and an open indulgence of all the bells and whistles that have been allowed it to grow into something bigger and (arguably) better over the decades.
    • 91 Metascore
    • 88 Critic Score
    The African Queen
    Bogart slyly draws upon his past performances here—men of weary-eyed cynicism and faded idealism—to give Charlie’s rudderless existence an extra-textual charge.
  15. Rashomon
    The film is still one of the most glorious testaments to the frustrations and exhilarations of chasing an unvarnished truth.
  16. Miracle in Milan
    This beautiful presentation of Vittorio De Sica’s fantastical portrait of poverty and human fortitude helps make the argument that the film is more than just a curio in neorealist history.
    • 78 Metascore
    • 88 Critic Score
    On Dangerous Ground
    The urban harshness of the city is contrasted with the austere snowy countryside for some of the most disconcertingly moving effects in all film noir. Despite the violence and the steady intensity, a remarkably pure film.
  18. The Day the Earth Stood Still
    Released in the midst of the Korean War and the prime of McCarthy, the film achieved a unique relevance for a “spaceman” movie by unambiguously advocating for peace and grounding its pulp story in social reality.
  19. Alice in Wonderland
    This lack of force-fed moralizing, coupled with its diffuse plot and hazily psychedelic imagery, makes it hardly surprising that the film’s revival came about when it developed a cult following.
    • 70 Metascore
    • 88 Critic Score
    The Tall Target
    As in Reign of Terror, Anthony Mann fashions a noir mini-masterpiece out of incongruous period reconstruction.
  21. Strangers on a Train
    Strangers on a Train is also simply a great thriller, yet another illustration of Hitchcock’s awe-inspiring ability to convey more with a single image than most directors can with minutes upon minutes of belabored set pieces.
  22. Sunset Boulevard
    Sunset Boulevard posits that the business and process of making films can often turn writers and directors into soulless scavengers of narrative detritus, performers into howling husks of wasted talent.
  23. The Damned Don't Cry
    The Damned Don’t Cry is an efficient, fast moving exercise in melodrama, hardly memorable and at times putrefying in its reliance on hokum, cliché, and bullshit sentimentality.
  24. The Asphalt Jungle
    Blood and trauma make an irresistible mix in John Huston’s The Asphalt Jungle.
  25. The Rules of the Game
    Low comedy walks hand and hand with tragedy and beauty throughout; the film is frothy one minute, nearly apocalyptic the next, and so you’re never fully allowed to gather your bearings.
  26. Cinderella
    Despite its prodigious charms, it has probably destroyed more lives than any other Disney film, forcing a specific, unrealistic romantic archetype that truly does only exist in fairy tales onto generations of impressionable children, who would grow up desperate, needy, and crushed.
    • 75 Metascore
    • 75 Critic Score
    Sands of Iwo Jima
    Allan Dwan’s film is an intimate rendering of a monumental event, featuring John Wayne in one of his most emotionally complex roles.
  28. Young Man with a Horn
    The non-musical performances are shallow: Douglas is forceful but one-note, Day is as square and wholesome as a glass of milk, and Bacall purrs along in the same faux-bad girl performance she’s given for the past 60 years. But I suppose that’s fitting for a morality play this black and white, where wild jazz, liquor, and loose women cause the downfall of man.
  29. Gun Crazy
    Lewis, through sheer force of will, turns the script’s easy ways out into the essence of blunt, adolescent sexual flowering.
  30. They Live by Night
    Ray’s plaintive artistry lends this weepy noir a melancholic beauty.
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