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. Cat People
    This subtle, glancing trust in our ability to read the true story between the lines is pivotal to Cat People’s sense of being simultaneously vague and explicit, succinct yet freighted with baggage.
  2. Now, Voyager
    Now, Voyager is the stuff of young lovers and hare-brained idealists, and if it can feel pretty foolish at times, it’s unforgettable for how sincere and affectionate it is toward one particularly time-honored cliché: that only fools falls in love.
  3. Bambi
    While not nearly as emotionally impacting as some of Disney’s other classics, Bambi might be the most restrained and lyrical of the bunch, a poem to the simplicity and purity of natural life.
  4. To Be or Not to Be
    Many of the film’s pleasures, then, derive from watching these characters successfully use the tools of the stage (improvisation, sense memory, prosthetics) to successfully subvert the Nazis.
  5. Sullivan's Travels
    Preston Sturges jammed volumes of sociological concerns into a 90-minute satire with Sullivan’s Travels, Hollywood’s greatest comedy.
  6. Woman of the Year
    Woman of the Year certainly has its other auxiliary charms: beautifully textured lighting by cinematographer Joseph Ruttenberg; a luminous, if limited, performance by Fay Bainter as Tess’s motherly aunt; and some enchanting simulations of soft winter snowfall. But it’s hard not to feel berated, in a time that’s seeing the resurgence of a pernicious nationalism, by both the film’s anti-feminist slant and its insistent compulsion to put a box around Americanism.
  7. They Died with Their Boots On
    Even if historical erroneousness intermittently undermines the film’s outlandish attempts at lionization, They Died with Their Boots On endures as one of the finest Flynn-de Havilland collaborations, providing a grand stage for the duo’s playful, poignant rapport.
  8. Dumbo
    In its scant 64-minute running time, the big-top melodrama of Dumbo reduces me to a blubbering, mucus-drizzling wreck at least once with every viewing.
  9. How Green Was My Valley
    Maybe because How Green Was My Valley doesn’t delve as deeply into the heart of darkness as Ford did in his earlier The Grapes of Wrath, it remains one of his most curiously underrated films.
  10. Citizen Kane
    I still stare at it, amazed and entertained, but dwarfed by the very idea of attempting to untangle the crow’s nest that has formed through the film’s ever-expanding histories. And what continuously stupefies me is that time works no miracles on this particular film: Scenes remain familiar, but the narrative seems to shift every time I return to it.
  11. Here Comes Mr. Jordan
    Death is a many-splendored thing in Here Comes Mr. Jordan, which treats the possibility of an afterlife not with somber religious symbolism, but a keen sense that a human being’s mortal end must be understood for its corporeal difficulties.
  12. The Philadelphia Story
    Add Hepburn’s persona, beautifully explored here in all its wonder, and Stewart’s likeability, and George Cukor’s sensible, subtle, and lovingly unrushed direction of a firecracker script…the result is a studio picture far deeper and richer than its whimsical surface style might lead you to believe.
  13. The Letter
    Like Frankenstein’s monster in the Universal horror classics, The Letter keeps its prize creature too long in the shadows. But a Davis movie cannot withstand scrutiny without her, and even a bad Davis movie where she’s hamming and mugging and even humiliating herself is more fun than practically no Bette at all.
  14. Fantasia
    It’s unquestionably among Disney’s masterpieces.
    • 89 Metascore
    • 88 Critic Score
    Foreign Correspondent
    Where the film separates itself from the director’s other early studio work and, indeed, many films of the period, is in its ambition and scope of its production. The aforementioned set pieces are not only memorable, they’re among the most impressively mounted action sequences to that point.
  16. They Drive by Night
    They Drive by Night never coalesces into a coherent whole, but as far as sturdy ’40s Hollywood melodramas go, it’s a pretty sweet two-for-one movie deal.
  17. Rebecca
    A key film in Alfred Hitchcock’s evolution as a master explorer of sexual neuroses.
  18. The Grapes of Wrath
    Too many films these days trivialize poverty as an ironically, tastelessly over-produced pageant to earn kudos. The Grapes of Wrath is flawed, but it captures that shiver of panic that grips anyone for whom the money for the next meal is unknown. The film remains a vital document of the perversion and torment of the fantasy most commonly known as the American Dream.
  19. Pinocchio
    Pinocchio redeemed Disney from the parlor trickery of Snow White and suggested animated features could indeed dance without strings.
  20. His Girl Friday
    One of the greatest and most mercenary of all American comedies.
  21. The Shop Around the Corner
    The charm of the gimmick in Lubitsch’s take (directing a script by Samuel Raphaelson, who had collaborated with the German-born filmmaker on comedies and melodramas alike) is passed over quickly in favor of studying both its effects on those involved, as well as the dynamics of the workplace at large.
  22. Destry Rides Again
    Above all, Destry Rides Again is fun, with a variety of stars and character actors utilizing their charisma with an expert sense of ease and offhandedness.
  23. The Roaring Twenties
    Climaxing with a tableau that’s as iconic as it is melodramatic, The Roaring Twenties revels in a relativism that keeps its momentum fresh and elusive.
  24. Jamaica Inn
    Alfred Hitchcock’s Jamaica Inn would have been better titled The Gangs of Jamaica Inn, since the film is thoroughly concerned with groupings, allegiances, and the ways class standing relates to moral obligation.
  25. The Wizard of Oz
    A true amalgam of creative forces individually pooling their studio-contract talents like a hive of bees.
  26. Only Angels Have Wings
    The other reason why Hawks's film can't be approached as a pure sociological interrogation is that it's, quite visibly, a Hollywood production with certain inescapable commitments to entertainment convention. This isn't to downgrade the movie, though, as there's a reason why Hawks and other Old Hollywood filmmakers have become so revered.
    • 91 Metascore
    • 75 Critic Score
    Love Affair
    Unlike many romantic comedies of the current age, life is decidedly not what you make of it in McCarey’s films; instead, it comes at you hard and cruel, and if you’re lucky you’ll find the right person with whom to weather the storm.
    • 93 Metascore
    • 88 Critic Score
    Stagecoach
    If this is the Old West of our dreams, it’s one that exists in an outsider’s limbo, away from society’s rules, alternating between the breathtaking breadth of the American landscape and the Germanically shadowy lighting of Ford’s claustrophobic interiors.
    • 98 Metascore
    • 88 Critic Score
    The Lady Vanishes
    In less skilled hands, the film’s slow start would be a problem. Thanks to thrilling visuals and an effortless performance by Redgrave, Lady Vanishes is a lively companion piece to Hitchcock’s other magnificent British-made hit, The 39 Steps, about an innocent man mistaken for a spy.
  30. Bringing Up Baby
    Bringing Up Baby has some delightfully comic sequences, for sure. But I’m less inclined to remember the dynamics of the gag than Grant and Hepburn’s timing.
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