Slant Magazine's Scores

For 2,429 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 9.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 The World's End
Lowest review score: 0 Scatter My Ashes at Bergdorf's
Score distribution:
2,429 movie reviews
  1. If it ultimately can't reconcile all that's presented in its too-brief runtime, that's largely because its situation, much like the dissonance between those involved, is comprehensibly irresolvable.
  2. Ida
    Pawel Pawlikowski shows great empathy toward the idea of illusions as a way of attaining emotional stability in even the most brutal terrain.
  3. Formally ostentatious and unrepentantly messy, the film manages to implicitly convey the overdriven, coked-up confusion that many '70s period pieces make painfully overt.
  4. In Joshua Oppenheimer's extraordinary The Act of Killing, film becomes the medium for a bold historical reckoning--and in more ways than one.
  5. It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
  6. The soft colors, graceful movements, and clean lines together embody the ineffable beauty of life on Earth that is one of the film's main themes.
    • 89 Metascore
    • 38 Critic Score
    The Artist neatly sidesteps this unsolvable dilemma by ignoring everything that's fascinating and memorable about the era, focusing instead on a patchwork of general knowledge, so eroded of inconvenient facts that it doesn't even qualify as a roman à clef.
    • 88 Metascore
    • 75 Critic Score
    It puts the viewer inside Maidan, allowing them to draw their own conclusions about the ideas and agendas espoused by the movement's leaders and participants.
  7. Laura Poitras teaches by example, providing a privileged insight into Edward Snowden's personality and motivation while keeping the focus on government spying.
  8. Abdellatif Kechiche reveals through his sense of composition, and collaboration with his remarkable actresses, a sensitivity to emotional nuance that's striking.
  9. Costa's storytelling is illusory at best, but Horse Money's self-contradictions are communicated not via plot half as much as in scenography, even in the costuming.
  10. As always, Wes Anderson places his trademark precision in direct confrontation with the chaos and confusion menacing his beloved characters.
    • 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.
  11. For American viewers who don't know, the doc will be a worthy footnote to a long bout of deliberate cultural amnesia, but it's too telling that the Vietnamese remain in the background.
  12. 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.
  13. The thrill of watching Fletcher and Neyman's fray unfold is intensified by Damien Chazelle's attention to the craft and challenge of musicianship.
    • 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.
  14. Paramount to molding a narrative of war and totalitarianism, however, is the inventive aesthetic in which Panh frames his memoir: a hypnotic hybrid of bleak archival footage, thoughtful voiceover, tone-dictating music, and—most significantly—homemade clay-figurine dioramas.
  15. It comes down on the essential hollowness of traditional gender roles like the avalanche that proves to be its inciting event.
  16. Its horrors go beyond any single raggedy phantom, reaching back to the primordial fear of death and loss: of a child, of a loved one, of one's own sense of self.
  17. Level Five pictorializes the cruel moment when curiosity encounters tragedy, and the all-too-human abandonment of interest that can follows.
  18. Lukas Moodysson's film allows its trio of girls to express themselves through gender, certainly, but not undermine their desire to be heard as artists first.
  19. The film is a conversation between two disadvantaged artists with indelible personalities, both of whom are unabashedly manipulating their way into at least the esoteric side of the everlasting.
  20. Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
  21. J.C. Chandor creates an austere snapshot of human struggle, ingenuity, and perseverance, one that's predicated on Robert Redford's fantastic performance.
    • 87 Metascore
    • 88 Critic Score
    If The Kid with a Bike is a fairy tale, it's the unsentimental kind that locates the dark enchantment in characters discovering themselves during their most despairing moments. Still, it's certainly the Dardennes' fleetest, warmest film to date.
    • 87 Metascore
    • 88 Critic Score
    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.
  22. The film may not put itself above the uninitiated, but director Mark Levinson oftentimes appears almost too eager to present his material with affectation.
  23. There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
  24. 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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