Slant Magazine's Scores

For 3,694 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Beginners
Lowest review score: 0 The Oranges
Score distribution:
3694 movie reviews
  1. Private Property abounds in inventive low-budget filmmaking while stress-testing a pulpy, dime-store premise.
    • 81 Metascore
    • 88 Critic Score
    Bond's latest is a remarkable high watermark for the series: at once solemn and deeply funny, sexy and sad, self-conscious without all the rib-bruising elbowing.
  2. One of its most refreshing aspects is its acceptance of both western and action-film conventions on their own terms, refusing to regard itself as operating outside of or superior to the genre.
  3. No Austen adaptation, even the most revisionist ones, have ever felt as vicious as Whit Stillman's Love & Friendship.
  4. The film buzzes with hand-drawn creativity that's precious in both the pop-cultural and material senses.
  5. An unnerving, all-archival account of Philadelphia citizens suddenly terrorized by the unchecked violence of rogue "law and order."
    • 69 Metascore
    • 88 Critic Score
    Both a companion piece to and in many ways a reversal of "Dogtooth," it builds on that film's surreally terse style and notions of communication and identity without diluting its singularity or concentration.
  6. 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.
  7. Control is the operative element in Benoît Jacquot's work, with the main caveat being that when someone has it, someone else does not.
  8. Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.
  9. The near-imperceptible finesse of Abby's characterization reflects writer-director Stacie Passon's effortless, interesting mix of richness and economy.
    • 82 Metascore
    • 88 Critic Score
    For Carl Dreyer, to film a miracle took a single shot; for Bruno Dumont, a whole film. In Le Havre, Aki Kaurismäki needs four shots to capture his - and what an ordinary event it is!
  10. Tsai Ming-liang's debut makes one yearn for an alternative reality where it, not Pulp Fiction, became the beacon of '90s independent filmmaking.
  11. Asghar Farhadi's sensibility embodies a combination of empathy and paranoia that's striking considering that the latter is normally driven by self-absorption.
  12. Even Les Blank's most conventional work remains an elusive vision, punctuated by cultural insights that elude many filmmakers for their entire careers.
  13. The next step in Jafar Panahi's personal cinema of captivity, a fully fictionalized, wildly bewildering work which imagines a man at war with his own creative impulse.
  14. A barbed inquiry into this particular notion of "self-defense," enabled by the quotidian racism state and perpetuated de jure by the state.
  15. A documentary whatsit acutely aware of the inherent performance people put into social discourse to maintain appearances.
  16. Richard Linklater's film luxuriates in a world that's the platonic ideal of youthful indulgence.
  17. The distinctiveness of Matías Piñeiro's alluring brand of formalism lies in this deference to chance and alchemy.
  18. "You should always be happy." That's a succinct encapsulation of the proudly optimistic spirit animating this joyous film, a worldview which the rest of Girl Walk // All Day illustrates with a combination of thrilling street ballet, exultant music, and unflagging verve.
    • 77 Metascore
    • 88 Critic Score
    To Wong, love isn't something you can talk about; words are inadequate, empty, inevitably reductive. Love is something you see, sense, feel, and Chungking Express is one of Wong's purest evocations of its excitement and heartbreak.
    • 87 Metascore
    • 88 Critic Score
    It can't be overstated just how Nothing But a Man is militantly tone-deaf to the Hollywood muzak of race relations.
  19. Johanna Hamilton's 1971 represents a mind-blowing scoop disguised as a fairly garden-variety issue doc.
  20. The landscape seems to push the characters away at the same time that it anchors them into place, suggesting that elsewhere is a promise that only dreams can keep.
    • 58 Metascore
    • 88 Critic Score
    Diamond-hard and dazzlingly brilliant, David Cronenberg's film plays like a deeply perverse, darkly comic successor to Videodrome.
  21. The film believes in maturity, but only as a freely continual process of acceptance.
  22. The film sympathetically renders the small humiliations and inconveniences of life as an old-world vampire struggling with modernity.
  23. It's a bit reductive in terms of a personal portrait, but this is a film that's not concerned with telling the story of a man, instead making him a representative symbol of a mostly bygone way of life, a reminder of both the fleeting nature of individual experience and the steady patterns of a broader human existence.
  24. A playfully self-reflective rumination on what writer-director Terence Nance has described as "self-awareness through experience with love."

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