Slant Magazine's Scores

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For 1,404 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 10.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 51
Highest review score:
Le Rayon Vert (1986)
Critic Score 100
Lowest review score:
Last Will and Embezzlement
Critic Score 0
Score distribution:
  1. Positive: 629 out of 1404
  2. Mixed: 284 out of 1404
  3. Negative: 491 out of 1404
1,404 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.
    • Metascore: 75
    • Critic Score 100
    House of Pleasures
    A brief history of time and space, according to Bertrand Bonello.
    • Metascore: 82
    • Critic Score 100
    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.
    • Metascore: 87
    • Critic Score 100
    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.
    • Metascore: 81
    • Critic Score 100
    Consuming Spirits
    Not only a monstrous visual achievement, but one of the most uniquely humanistic animated features of all time.
    • Metascore: 78
    • Critic Score 100
    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.
    • Metascore: 83
    • Critic Score 100
    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]
    • Metascore: 80
    • Critic Score 100
    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.
    • Metascore: 100
    • Critic Score 100
    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.
    • Metascore: 72
    • Critic Score 100
    Scarecrow
    Scarecrow embraces sprawl of both the narrative and geographical variety with freewheeling abandon.
  18. 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.
  19. 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.
    • Metascore: 74
    • Critic Score 88
    Dark Days
    The documentary enables its viewers to confront poverty on a human level by presenting its subjects, for the most part, like anyone else, living lives, despite their socioeconomic difference, relatable to our own.
  21. Polytechnique
    Though it's as schematic in construction as "Incendies," the film doesn't grind along to a ponderous plot; it's unnerving abstraction of its subject matter more daringly relays Villeneuve's view of the human cost of gender warfare.
  22. Impolex
    It lulls us into its reckless passivity to the point that even the comedic duds possess a languid hint of funny.
    • Metascore: 87
    • Critic Score 88
    Harry Potter and the Deathly Hallows: Part 2
    The fact that Yates marshals a mile-long grocery list of business with the grace and poise of an orchestra conductor, and makes it look easy, isn't just flattery, it's an indication of his method.
    • Metascore: 86
    • Critic Score 88
    The Interrupters
    An inspirational and heartbreaking nail-biter, The Interrupters was more difficult for me to watch than any battle documentary I've seen in years.
  25. Bellflower
    Evan Glodell's debut has the sweetness of a lullaby reverie and the blazing ferocity of a monster-car nightmare, a first-comes-elation, then-comes-madness structure that resembles that of "Blue Valentine," another tale focused on the commencement, and then collapse, of an affair.
    • Metascore: 82
    • Critic Score 88
    Mysteries of Lisbon
    A marvelously elastic storyteller, a dry wit, and a Rivettean anti-determinist, the Chilean auteur Raúl Ruiz is fascinated by narratives that dilate from within, images seemingly full of secret passageways, and fabulists who collect tales like toys.
  27. The Mouth of the Wolf
    We experience the delay of the fantasy of the happy old couple in their country home in cinematic time as, for most of the film, the only body these lovers have is the spellbinding combination of visual fragments serving as apparitions to their voices.
  28. Rebirth
    If Rebirth's subjects are active guides documenting a fluid psychological landscape, Jim Whitaker constructs a specific cinematic geography around them with stunning time-lapse photography of Ground Zero.
  29. Love Exposure
    Japanese poet and cult filmmaker Shion Sono defines himself as an anti-establishment artist partly out of cynicism and partly thanks to his romantic concept of libertarianism.
  30. The Autobiography of Nicolae Ceausescu
    Manages to be intimate and impersonal at the same time, a trait constantly reinforced by his portrayal of not only Ceausescu but the populace he led, represented, and controlled for nearly three decades.
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