Slant Magazine's Scores

For 3,023 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Madam Phung's Last Journey
Lowest review score: 0 Casa de mi Padre
Score distribution:
3,023 movie reviews
    • 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.
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. It's in the way the film refuses to characterize its central friendship solely on the grounds of common isolation that becomes its most endearing quality.
  7. An unnerving, all-archival account of Philadelphia citizens suddenly terrorized by the unchecked violence of rogue "law and order."
  8. Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
  9. The film, never sensational or saccharine, is a tough but tender tribute to the creative power of maternal love.
  10. Arnaud Desplechin tries his hand at a coming-of-age tale, and does so with equal doses of mature reflection and youthful impetuosity.
  11. Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.
  12. Eleanor Burke and Ron Eyal's film is a tasteful, well-orchestrated drama that never reaches beyond its humble means.
  13. Its triumph is primarily a matter of style, a visionary revelation every bit as expressionistic as its main character's electric sense of shade.
    • 85 Metascore
    • 63 Critic Score
    Girlhood is so keyed to the minutiae of its teenage protagonists' lives, it's as if the film can't stop itself from behaving like they do.
  14. In the Mood For Love is ravishing beyond mortal words.
  15. Broomfield isn't so much dedicated to journalistic truth or social ethnography as he is displaying bodies and mindsets of individuals that complicate any sense of Manichean polemics, where good and evil must be reckoned with at a purely secular and corporeal level, particularly along the lines of class and gender.
  16. Order may be restored to the Circus, the "bad" elements weeded out, but in the jaundiced world the film has spent the last two hours so effectively delineating, the barriers between good and evil have been shown to be essentially meaningless.
  17. 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.
  18. Hero is elliptical, primal, radically disjointed, and female-empowering. Everything a wu xia should be…and then som
  19. It's not easy to give a character study concerning mental illness the aspect of a psychological thriller without some notes of exploitation or trivialization creeping in, and Take Shelter makes a few missteps.
  20. Amy
    For the most part, the documentary succeeds in conveying a galvanizing sense of what made Winehouse so immediately engaging.
  21. Farhadi navigates his complicated narrative thicket with an apparent ease that confirms yet again that he's an amazing talent, but here he isn't able to blend the brushstrokes as he has in prior films.
  22. The Tree of Life's fetching images are like glowing shards of glass, and together they form a grandiose mirror that reflects Malick's impassioned philosophical outlook. It's unquestionably this great filmmaker's most personal work, a revelation of how he came to be, why he creates, and where he feels he's going.
    • 85 Metascore
    • 100 Critic Score
    The Long Day Closes posits its pubescent protagonist as a tiny camera absorbing and transforming the reality all around him.
  23. Sensitively performed and laced with some forceful quotidian grit, the film evades the larger questions behind a scandalous shooting death.
  24. This is, to put it mildly, a lot of information for one documentary, which inevitably devolves to resemble not so much an anthology as a slideshow of genocide's greatest hits.
  25. Léos Carax's maddening, self-satisfied, though never smug, game of spot-the-reference seems intended only for a particular type of cinephile.

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