Slant Magazine's Scores

For 4,080 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 8.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Nine Muses
Lowest review score: 0 The Last Face
Score distribution:
4080 movie reviews
  1. The conclusion is a testament to the fact that authentic justice is probably only attainable by accident.
  2. Altman directs the complex web of social interactions with a frame that’s both inclusive and prying. And the actors he collected and dropped in Malta’s simulated community help evoke an atmosphere that is genial yet guarded. Shelly Duvall couldn’t possibly have played Olive Oyl badly.
  3. 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.
  4. Roberto Minervini's documentary is as quintessentially American a text as one could hope for in today's divided union.
  5. The film creates a deeply rooted sense of realism that contrasts the austere, surreal illustrations.
  6. A film for those who, whether here or in Israel, believe the law is the beginning, and not the end, of rights discourse.
  7. Marc H. Simon's documentary has the thrust of a great American noir or black comedy.
    • 85 Metascore
    • 88 Critic Score
    It’s a testament to Assayas’s empathy that he is able to build the entirety of his drama in the distance between his principals’ forgivable self-interest and their quiet kindness.
  8. Michael Mann's camera elegantly collapses the spaces between bodies and objects without sacrificing spatial coherence.
  9. After a few turns in the modest narrative, an unlikely sense of structural resilience begins to emerge.
  10. The film renders visible a very complicated, and awfully repressed, truth not only about gay desire, but desire in general.
  11. The filmmakers are more interested in questioning what brings people to commit senseless and merciless acts than they are preoccupied with the historical record.
  12. Laura Poitras teaches by example, providing a privileged insight into Edward Snowden's personality and motivation while keeping the focus on government spying.
  13. Laurie Anderson condenses contemporary, human experience to the point where exterior and interior are made indistinguishable from one another.
  14. Aquarius is a critique of a daydream that has the imaginative daring to live that very dream anyway.
  15. By de-emphasizing politics in favor of humanitarianism, Danielle Gardner's work also suggests how Americans might yet unify even as the world around them threatens to tear itself apart.
    • 67 Metascore
    • 88 Critic Score
    If the research that Cronenberg and Wagner engaged in for Maps to the Stars oftentimes appears more entomological than sociological, there's nonetheless a plaintive chord of melancholy that plays throughout the film.
  16. The film makes no concessions about its dissatisfaction with the whole rotten lot of so-called western democracy.
    • 67 Metascore
    • 88 Critic Score
    The clash of styles in Damsels in Distress is bewildering and then disarming.
  17. Throughout Harmonium, writer-director Kôji Fukada works in a rapt and lucid hyper-textural style that suggests a merging of the sensibilities of Alfred Hitchcock and Yasujirô Ozu.
  18. Like the work it illuminates, the doc feels formally impeccable yet utterly unstaged, a vivid distillation of a distinct and precious life.
  19. Trading on the already-resonant associations engendered by a famous face, Garrel's film responds by forging a new, deeper connection between an actress and her public, resulting in that rare moment of cinematic alchemy where the line between fact and fiction has not only blurred, but ceased to matter entirely.
  20. Mitra Farahani rescues the doc from becoming a talking-head fest by embracing her creative self as a character and exposing the travails of her own authorship process.
  21. The Treasure is no thriller, but there are moments here that inculcate the stakes with prisoner's-dilemma paranoia.
  22. True to its title, Marielle Heller's adaptation of Phoebe Gloeckner's semi-autobiographical novel has the loosely structured, unfiltered feel of a young person's diary.
  23. Bleakness, Arturo Ripstein's film implies, demands different kinds of labor from a man than from a woman.
  24. The film affectively defends food critic Jonathan Gold's assertion that it's ultimately cooking that makes us human.
  25. Mapping the intersection between history and emotion, Michael Almereyda finds himself in Alain Resnais terrain.
  26. Agnès Varda and JR's film develops into something approaching a manifesto for the possibility of shared happiness.
  27. The pleasure in watching the film becomes a linguistic one as Juliette Binoche and Kristen Stewart masterfully sharpen their words and hurl them at each other like projectiles out of a blowpipe.

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