Slant Magazine's Scores

For 2,845 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 9.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Dear White People
Lowest review score: 0 Sexual Chronicles of a French Family
Score distribution:
2,845 movie reviews
  1. Among the film's many revelations is the level of self-aware humility Brando exudes while talking about his life and creative process.
    • 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.
  2. Asghar Farhadi's sensibility embodies a combination of empathy and paranoia that's striking considering that the latter is normally driven by self-absorption.
    • 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.
  3. The film may not put itself above the uninitiated, but director Mark Levinson oftentimes appears almost too eager to present his material with affectation.
  4. There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
    • 87 Metascore
    • 88 Critic Score
    If the film were to propose a mandate for animation, it would be what the medium's etymology has longed suggested: to make the inanimate full of life.
  5. 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.
  6. True to Hollywood's tireless efforts to fit square-peg material into roundish genre niches, this wavering, intermittently smart story of daring to think differently flattens its narrative into formula.
    • 87 Metascore
    • 88 Critic Score
    Brief Encounters is great entertainment.
  7. Peter Strickland charges full-tilt into the objectifying whims of his fantasies in order to somehow reach the other end of perception, which acknowledges the ultimate empathetic limitations of said fantasies.
  8. It comes down on the essential hollowness of traditional gender roles like the avalanche that proves to be its inciting event.
  9. Steven Spielberg's film may further the heroism so associated with its subject, and favor a liberal viewpoint that leers down at the Confederates, but it's no bleeding-heart glamorization.
  10. The film is a testament to the power of video to document resistance to corrupt and abusive regimes, but it's also a witness to the limits of that power.
  11. In the film, Alexander Payne's overview of America is extraordinarily, multifariously profound.
  12. We're simply presented a person in trouble, and we're allowed to recognize his problems as extreme embodiments of universal issues of terror, confusion, and loneliness.
  13. 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.
  14. 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.
  15. The repetitive rhythms of Joaquim Pinto's daily routines provide the film with a feeling of serenity that stands in contrast to the man's underlying anxiety.
  16. Filmmakers Stephanie Spray and Pacho Velez insist that altered spectatorship, particularly patience and duration, is the foundation of cinematic edification.
  17. Presents a cast of characters who must continue fighting, for what's at stake is the very real, very imminent threat of their own deaths.
    • 86 Metascore
    • 75 Critic Score
    Most compelling in Christian Petzold's latest is the way the filmmaker adeptly conducts his tides of Cold War paranoia.
  18. Paolo Sorrentino's film is really just a huge turn-on that has the bad manners to go sour, succumbing to its own self-delusions of moral/political grandeur.
  19. 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.
  20. 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.
  21. Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
    • 86 Metascore
    • 50 Critic Score
    The Master is Paul Thomas Anderson with the edges sanded off, the best bits shorn down to nubs.
  22. Its triumph is primarily a matter of style, a visionary revelation every bit as expressionistic as its main character's electric sense of shade.
  23. The film exudes a sense of fleetingness; however static these lives may be, Tian's narrative perfectly evokes a changing season.
    • 86 Metascore
    • 88 Critic Score
    An inspirational and heartbreaking nail-biter, The Interrupters was more difficult for me to watch than any battle documentary I've seen in years.

Top Trailers