Slant Magazine's Scores

For 2,485 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 9.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 A Spell to Ward Off the Darkness
Lowest review score: 0 Jobs
Score distribution:
2,485 movie reviews
    • 82 Metascore
    • 88 Critic Score
    A marvelously elastic storyteller, a dry wit, and a Rivettean anti-determinist, the Chilean auteur Raúl Ruiz is fascinated by narratives that dilate from within, images seemingly full of secret passageways, and fabulists who collect tales like toys.
  1. It's as if Carlos Saura were calling the bluff of spectacle-oriented narrative cinema that necessitates excusing its excesses with characters and plotting.
  2. By favoring the repetition of gestures over plot or graphics, Don Hertzfeldt argues that animation is, at its essence, a kinetic rather than simply visual form of expression.
  3. Pablo Berger digs for emotional intensity in his gothic retelling of Snow White and only uncovers layers of gloss.
  4. Nuri Bilge Ceylan has to be the least kinetic of working filmmakers - and not simply in the sense of static camerawork or lack of narrative momentum.
  5. Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
  6. Frederick Wiseman's At Berkeley isn't only a study of the contemporary American university, but, like all of the filmmaker's best documentaries, a wide-ranging inquiry into the larger institutions and contradictions that define life in the United States.
  7. It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
  8. Assembled from short, naturalistic shots of people at work, the documentary becomes a bittersweet testament to labor and a damning representation of a vicious cycle, its images speaking entirely for themselves.
  9. This is a film about the invisible things passed down from generation to generation, that nasty inheritance that cages us into patterns and puzzles we try to solve in someone else's name.
  10. The literalizing of Ivan Locke's hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
  11. Of Bennett Miller's many directorial feats, his canniest is his depiction of the precariousness of bonds, and how those bonds can shift, drastically yet almost imperceptibly.
  12. One of the most distinct pleasures of Beginners is the way it puts together fragments of someone's life-presumably the filmmaker's, although little does it matter-with humility, and without vying for some complete whole.
  13. A ticking stopwatch hangs over Weekend that amplifies the intensity of every conversation, every fight, every drink, every copulation. In other words, it's a device.
  14. In its visionary dream and flashback sequences, the film becomes a comment on the rapidly diminished state of traditional animation.
    • 81 Metascore
    • 100 Critic Score
    Leviathan is a titanic achievement, a visceral overload whose impact registers immediately and with great force.
  15. No
    A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.
  16. Ursula Meier's film is sustained by a sturdy emotional engine and some intrepidly thoughtful characterization.
    • 81 Metascore
    • 63 Critic Score
    While the rush toward a conventional climax is confusing, and more than a little disappointing, there's an undeniable pleasure that emerges in seeing Tarantino juggle the dynamite of his ideas, even when they prematurely pop off in his face.
    • 81 Metascore
    • 88 Critic Score
    Bond's latest is a remarkable high watermark for the series: at once solemn and deeply funny, sexy and sad, self-conscious without all the rib-bruising elbowing.
  17. The next step in Jafar Panahi's personal cinema of captivity, a fully fictionalized, wildly bewildering work which imagines a man at war with his own creative impulse.
  18. The dangers of filmmakers trying to replicate a golden era rather than embrace the present are part and parcel of Inherent Vice, but the ramifications are political as well.
  19. Aarón Fernández captures one of the most heartening elements of sex: that it doesn't always oblige our rules or expectations.
    • 81 Metascore
    • 63 Critic Score
    A nose-to-the-ground portrait of two believably aspirational protagonists and their constant hustle to make good on the movie's eponymous demand.
  20. The overall experience is entirely immersive, thanks not only to the filmmakers' handheld camera, but also to the illusory nature of the staging.
  21. It's a bit reductive in terms of a personal portrait, but this is a film that's not concerned with telling the story of a man, instead making him a representative symbol of a mostly bygone way of life, a reminder of both the fleeting nature of individual experience and the steady patterns of a broader human existence.
  22. Forcefully traditional and sentimental, Thunder Soul benefits most from the cinematic turn of the actual events it documents, which allowed the beloved teacher's life to end on a perfectly bittersweet note.
    • 81 Metascore
    • 100 Critic Score
    Not only a monstrous visual achievement, but one of the most uniquely humanistic animated features of all time.
    • 81 Metascore
    • 88 Critic Score
    Upstream Color is lush, rhythmic, and deeply sensual, a film of exceptional beauty.
    • 81 Metascore
    • 63 Critic Score
    Unlike most war documentaries, which tend to only skim the surface of its gun-toting subjects' lives, photojournalist Danfung Dennis's Hell and Back Again isn't content to merely capture warriors in combat.

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