Slant Magazine's Scores

For 2,638 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Gangs of Wasseypur
Lowest review score: 0 Cold Fish
Score distribution:
2,638 movie reviews
    • 87 Metascore
    • 100 Critic Score
    Aleksei German's final film is choreographed with a Felliniesque social grandeur, but tethered to a neorealist's eye for detail and quotidian matters of social justice.
  1. 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.
  2. Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects.
    • 72 Metascore
    • 100 Critic Score
    Scarecrow embraces sprawl of both the narrative and geographical variety with freewheeling abandon.
    • 78 Metascore
    • 100 Critic Score
    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.
  3. It resembles a satirical treatise of self-reflection, functioning simultaneously as a summation of Bruno Dumont's thematic interests over the previous two decades and as a bonkers remake of Humanité.
  4. In the Mood For Love is ravishing beyond mortal words.
  5. Adam Wingard's You're Next brazenly merges the home-invasion thriller with the dysfunctional family dramedy.
  6. 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.
  7. Much like the work of generational cohort Michael Robinson, Alex Ross Perry's films are steeped in a viscous cultural past.
  8. It takes cojones for a filmmaker to chase Fassbinder's ghost, but it takes heart and talent to damn near catch up with it.
  9. 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.
  10. 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.
    • 85 Metascore
    • 100 Critic Score
    The Long Day Closes posits its pubescent protagonist as a tiny camera absorbing and transforming the reality all around him.
  11. 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.
    • 80 Metascore
    • 100 Critic Score
    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.
    • 96 Metascore
    • 100 Critic Score
    Even when the band plays away from private eyes or songs simply play over disconnected footage of them having fun, the strength of their songcraft is stirring.
  12. The dangers of filmmakers trying to replicate a golden era rather than embrace the present are part and parcel of Inherent Vice, but the ramifications are political as well.
    • 81 Metascore
    • 100 Critic Score
    Not only a monstrous visual achievement, but one of the most uniquely humanistic animated features of all time.
  13. Throughout, what truly matters to director Jonathan Glazer is articulating through visual and aural enticement the unconscious power of our death drive.
    • 88 Metascore
    • 100 Critic Score
    The film's vision of masculine self-sufficiency is built around--and on, via Australia's own bloody colonial history--an elemental violence.
  14. This insane masterpiece shows the self-destructive properties of myth making and how they overlap with the downfall of a community damned from the beginning of time.
  15. A movie which sits at the nexus between spoken and written language, the latter mostly of the programming variety.
  16. 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.
  17. 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]
  18. 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.
  19. An acutely felt, altogether devastating family drama as intimate and affecting as it is sprawling and untamed.
  20. Level Five pictorializes the cruel moment when curiosity encounters tragedy, and the all-too-human abandonment of interest that can follows.
  21. Rob Zombie understands horror as an aural-visual experience that should gnaw at the nerves, seep into the subconscious, and beget unshakeable nightmares.
  22. Those who find Rohmer heroines difficult - that is, demanding because they are three-dimensional, non-formulaic creations with an intricate set of foibles and needs - might even be won over by the depth and poignancy of Delphine, one of its maker's most generously etched characters.

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