Slant Magazine's Scores

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For 1,702 reviews, this publication has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 9.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score:
Celine and Julie Go Boating (1974)
100
Lowest review score:
A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
0
Score distribution:
  1. Positive: 770 out of 1702
  2. Mixed: 352 out of 1702
  3. Negative: 580 out of 1702
1,702 movie reviews
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  1. Beginners
    One of the most distinct pleasures of Beginners is the way it puts together fragments of someone's life-presumably the filmmaker's, although little does it matter-with humility, and without vying for some complete whole.
  2. The Nine Muses
    The Nine Muses is the kind of nonfiction film I actively hope for: a picture of intuitive, free-associational power that cuts far deeper emotionally than a dry recitation of dates and facts could ever hope to.
  3. Tomboy
    Tomboy is one of those little big films whose simplicity and concision suggest the excess of meaning that language (cinematic or otherwise) could never account for.
    • 75 Metascore
    • 100 Critic Score
    House of Pleasures
    A brief history of time and space, according to Bertrand Bonello.
    • 82 Metascore
    • 100 Critic Score
    In the Family
    An acutely felt, altogether devastating family drama as intimate and affecting as it is sprawling and untamed.
  6. The Turin Horse
    Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus.
  7. The Color Wheel
    Much like the work of generational cohort Michael Robinson, Alex Ross Perry's films are steeped in a viscous cultural past.
  8. Almayer's Folly
    Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines.
    • 87 Metascore
    • 100 Critic Score
    Wake in Fright (1971)
    The film's vision of masculine self-sufficiency is built around--and on, via Australia's own bloody colonial history--an elemental violence.
    • 81 Metascore
    • 100 Critic Score
    Consuming Spirits
    Not only a monstrous visual achievement, but one of the most uniquely humanistic animated features of all time.
    • 78 Metascore
    • 100 Critic Score
    Tabu
    The pangs of romance, eroticism, anguish, and longing (both for the stolen moments of private passion and for the sense-making schematics of Empire) transcend any period of cinema Tabu may evoke.
    • 83 Metascore
    • 100 Critic Score
    Leviathan
    Leviathan is a titanic achievement, a visceral overload whose impact registers immediately and with great force.
  13. Days of Heaven
    To hell with equivocation or beating around the bush: Terrence Malick's 1978 Days of Heaven is the greatest film ever made. And let the word film be emphasized, since Malick's sophomore masterpiece earns this exalted designation from its position as a work of pure cinema. [22 Oct. 2007]
    • 80 Metascore
    • 100 Critic Score
    Room 237
    The doc positions The Shining as a comparably coiled, thematically overflowing microcosm--standing in for cinema, for history, for obsession, for postmodern theory buckling under the film's heft.
  15. The Lords of Salem
    Rob Zombie understands horror as an aural-visual experience that should gnaw at the nerves, seep into the subconscious, and beget unshakeable nightmares.
    • 100 Metascore
    • 100 Critic Score
    Voyage to Italy (re-release)
    As befits a filmmaker who defined as well as challenged the definition of Italian neorealism, Voyage to Italy unfolds as a thorny narrative and a profoundly personal documentary.
    • 72 Metascore
    • 100 Critic Score
    Scarecrow
    Scarecrow embraces sprawl of both the narrative and geographical variety with freewheeling abandon.
  18. In the Mood for Love
    In the Mood For Love is ravishing beyond mortal words.
  19. Laurence Anyways
    It takes cojones for a filmmaker to chase Fassbinder's ghost, but it takes heart and talent to damn near catch up with it.
  20. Museum Hours
    Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects.
  21. Computer Chess
    A movie which sits at the nexus between spoken and written language, the latter mostly of the programming variety.
  22. Drug War
    The film is a singularly huge, relentless, all-encompassing set piece that mutates and spasms with terrifying lack of foresight. It's all business, business, business.
    • 81 Metascore
    • 100 Critic Score
    The World's End
    An ordinary drama embellished and in some sense infringed on by genre elements rather than the other way around.
    • 66 Metascore
    • 100 Critic Score
    You're Next
    Adam Wingard's You're Next brazenly merges the home-invasion thriller with the dysfunctional family dramedy.
  25. Stranger by the Lake
    Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
  26. The Wind Rises
    Even if Hayao Miyazaki's career is complete, a work like this serves to remind us of the shining beacons he's left behind him, the testaments to pursuing beauty in the face of so much ugliness, themselves lasting reminders of the quiet rewards of determination.
  27. A Touch of Sin
    As depicted by Jia Zhang-ke, the balance between the spoils and moral rot of murder are far preferable to the debasing rigors of tradition and hollow nationalism.
  28. Her
    A screwball surrealist comedy that asks us to laugh at an unconventional romance while also disarming us with the realization that its fantasy scenario isn't too far from our present reality.
  29. The Tree of Life
    The Tree of Life's fetching images are like glowing shards of glass, and together they form a grandiose mirror that reflects Malick's impassioned philosophical outlook. It's unquestionably this great filmmaker's most personal work, a revelation of how he came to be, why he creates, and where he feels he's going.
  30. Tuesday, After Christmas
    At first glance, Tuesday, After Christmas seems, in both form and content, only a modestly ambitious endeavor. Yet the singular attention with which it carries out its aims-and the rigorous success it ultimately attains-is nonetheless unsparing, and bracing.
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