Slant Magazine's Scores

For 2,432 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 9.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 You're Next
Lowest review score: 0 Here Comes the Boom
Score distribution:
2,432 movie reviews
  1. 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.
  2. Léos Carax's maddening, self-satisfied, though never smug, game of spot-the-reference seems intended only for a particular type of cinephile.
  3. Although the film remains continually fanciful, it always reminds us of the stakes in which precocious childhood rubs up against the possibility of a childhood denied altogether.
  4. Staring deep into the darkness of an apparently static character, Nuri Bilge Ceylan again exhibits his gift for making interesting stories out of predetermined plots, locating small eddies of change in the midst of eternally fixed dynamics.
  5. Though ostensibly a character study, it's nevertheless characterized by the vaguely moralizing tone of an issue film, one whose candor in the face of brutality seems calculated for maximum liberal appeal.
  6. The film preaches resolutely to the choir, and cinephiles in sync with the film's politics may still blanch at how snugly their interests are courted.
    • 84 Metascore
    • 88 Critic Score
    The evocation of things ending suffuses the film with melancholy, as Anders increasingly becomes an observant rather than a participant in his own life.
  7. As in the very best Anthony Mann and John Ford westerns, Looper at once understands the visual power of violence and is deeply critical of it.
  8. A blistering portrait of rebellion against social discord, marginalization and oppression, and a call to arms for true democratic ideals of dignity, justice, and fairness.
  9. Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects.
    • 84 Metascore
    • 88 Critic Score
    In a development that seemed to begin in earnest with "Sideways," a large part of The Descendents seems to operate on a non-narrative level.
  10. Conventional but never sanctimonious, it balances out its familiar recovery angle with a healthy measure of sardonic wit.
  11. Documents emotionally charged interactions between patients and hospital staff without any signs that the subjects are being made to feel self-conscious or that they're behavior is being affected.
  12. Tsai isn't making a social-problem film here, and his critique of patriarchal control is secondary to his portrait of unbearable psychic conditions.
  13. The film has an atmosphere of endless experimentation, which compliments the constant revision the subjects apply to their lives in the wake of their economic insecurity.
  14. Although far from the worst offender in Disney's canon, The Lion King is nevertheless host to many of the less savory qualities common to the studio's output.
  15. The Frankensteinian rebellion of orcas against their corporate captors turns this doc into a sort of showbiz horror film.
  16. There's great potential for the kind of issues that are taken on, but nothing is resolved, and the biggest questions, of guilt and shame, the gulf of understanding between the first world and the third, remain unengaged.
    • 83 Metascore
    • 75 Critic Score
    The decentralized narrative benefits from the film's original conception as a miniseries, with plenty of time to draw us into the morass that was the communist state.
  17. To drive home the pathos of Nim's mistreatment, James Marsh frequently makes questionable use of the creature's apparent similarity to human beings, trading complex analysis for easy sentiment.
  18. I Killed My Mother is a film best heard than seen, as the earnest, nimble scrubbiness of Dolan's screenplay is ill-served by his conceited visuals, an aesthetic mode that feels insecurely borrowed from perfume commercials and the work of Jean-Luc Godard and Wong Kar-Wai.
  19. Even if Hayao Miyazaki's career is complete, a work like this serves to remind us of the shining beacons he's left behind him, the testaments to pursuing beauty in the face of so much ugliness, themselves lasting reminders of the quiet rewards of determination.
  20. This joyous documentary leaves us wanting to immediately seek out the incredible, sometimes unfamiliar music we've just heard.
    • 83 Metascore
    • 50 Critic Score
    Go after Pina and you're going to have to go through a mob of modern-dance zealots first.
    • 83 Metascore
    • 75 Critic Score
    Scorsese's affection for cinema is, of course, no surprise, and Hugo doesn't shy away from stumping for the cause of his Film Foundation; which isn't to say it's a vanity project, at least not any more than any film with a budget in the nine figures is.
  21. It works too hard to keep matters on an even, we're-all-more-alike-than-different keel, which is just one part of its chief problem of forcefully conveying information and intent.
  22. All told, there's an ageless warmth to The LEGO Movie akin to that of the LEGO brand itself.
    • 83 Metascore
    • 75 Critic Score
    With its compelling and original approach to its romance narrative, coupled with Paulina García's nuanced and intuitive performance, the film delicately balances an entire octave of emotions.
  23. The geometry of human relationships is the main theme of Hong Sang-soo's The Day He Arrives.
  24. The ear for language is paired with an eye for the landscape, and the film finds beauty even in such a seemingly dreary, economically depressed community.

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