Slant Magazine's Scores

For 2,933 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 8.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 The Forbidden Room
Lowest review score: 0 Act of Valor
Score distribution:
2,933 movie reviews
    • 100 Metascore
    • 100 Critic Score
    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.
  1. Richard Linklater's film is an experiment in time, and one that's attentive to the audience's sense of empathy.
  2. Compared to "Breathless," Le Petit Soldat's images suggest a stronger sense of place, as characters seem inextricably linked to their environment. Overall, the film lacks the artifice of Hollywood cinema, which Godard admired but was looking to move past after catching flack from the French left wing.
  3. Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
    • 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.
  4. Alfonso Cuarón's triumph is an invigoratingly clean, elegant display of action choreography, a La Région Centrale you can still take grandma to see.
  5. This is muckraking journalism that moves confidently with the brio of an action thriller.
  6. The film dares its viewers to consider that--for a couple of hours, at least--even when a thing seems too good to be true, it might not be.
    • 95 Metascore
    • 75 Critic Score
    Doubtless, Kathryn Bigelow's greatest strengths emerge when she can more freely flex her muscles as an action filmmaker.
  7. Barriers both transparent and persistently present encase the characters of A Separation, constricting them in ways social, cultural, religious, familial, and emotional.
  8. These films have always been about the power of words, their ability to bridge gulfs of time and space, the thrill of ideas and opinions taking definitive shape.
  9. An astute summation of Mike Leigh's glum view of humanity, but also a challenge to this disposition and his own pessimistic perspective.
  10. Simply and devastatingly letting five residents of San Francisco share their reminiscences of that city's nightmarish "war zone" in the early, horrific years of AIDS, We Were Here creates a harrowing, streamlined oral history.
  11. Both wonderfully complex and weirdly reductive at the same time—a formula, though, that seems as sound an embodiment of the human brain as any other.
    • 94 Metascore
    • 50 Critic Score
    This isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years.
    • 93 Metascore
    • 75 Critic Score
    There are more than a few striking images and intriguing ideas to be extracted from Tristana. [10 Oct. 2012]
  12. 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]
  13. As played by an eloquently beleaguered Oscar Isaac, Llewyn Davis is arguably the most vivid and complex character the Coens have dreamed up since Marge Gunderson.
  14. Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines.
  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.
  16. Andrey Zvyagintsev never loses sight of the humans, who're allowed to display improvisatory behavior that deepens the majesty of the rigorously orchestrated tableaus.
    • 92 Metascore
    • 75 Critic Score
    The earthiest of Japanese New Wave directors, Shohei Imamura goes fascinatingly meta in this 1967 hybrid of investigative tract and ruminative experiment.
    • 92 Metascore
    • 50 Critic Score
    If The Look of Silence still remains a gripping, vital, consequential documentary, it's in spite of its approach rather than because of it.
  17. A Summer's Tale's linear structure and sense of observation is simple yet inspired.
  18. The film's criticism isn't primarily rooted in satire, but rather in fury and condemnation for those who seek to be gods while shamefully feigning to follow and praise one god.
  19. Sarah Polley is much more interested in the malleability of memory and the consequential refractions felt throughout her kin rather than telling a linear narrative.
    • 91 Metascore
    • 63 Critic Score
    Even when the so-called Gatekeepers offer up damning testimony against their organization, there's no real threat that they'll ever be held accountable for it.
  20. The film's beguiling visual poetry and smatterings of sociological subtext function less than coherently as transitional markers between cinematic epochs, or even as the nascent burblings of any imminent DIY revolution; instead, they're redolent of a modernist apotheosis.
  21. Guzmán creates an interesting dialectic between the different searchers profiles, uniting them under an umbrella of humanism and cautious hopefulness.
  22. Ida
    Pawel Pawlikowski shows great empathy toward the idea of illusions as a way of attaining emotional stability in even the most brutal terrain.

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