Slant Magazine's Scores

For 2,431 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 Color Wheel
Lowest review score: 0 2 Jacks
Score distribution:
2,431 movie reviews
  1. 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.
  2. The director's clear-minded approach allows her subject's more challenging aesthetic-political mix to shine through, even if it's at the inevitable expense of her own filmmaking proclivities.
  3. Humor and sorrow are equally immediate emotions throughout, whether in the writer-director's traditionally structured setup-punchline scenes or his strange non sequiturs
    • 81 Metascore
    • 25 Critic Score
    When one stops to consider how irksomely on the nose so much of this is, the qualities which intend to most readily ingratiate the film with us begin to appear perceptibly disingenuous and false.
  4. Chiemi Karasawa's documentary is remarkable for its candor, but it's a brutal honesty that Elaine Stritch herself gladly offers.
  5. Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
  6. Offers exactly what its title promises, unveiling this secret milieu through thoroughly meticulous animation.
  7. The poetic, referential succession of near-still images that opens the film so immaculately distills Melancholia's moody narrative and themes that it makes the two-hours-plus that follow seem impossibly redundant.
    • 80 Metascore
    • 75 Critic Score
    Lauren Greenfield's film evolves from an ode to entitled obliviousness to a more evenhanded character study, tracing the fault lines that develop within the Siegel family.
  8. Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus.
  9. Here is a film that isn't afraid to risk didacticism in order to put across its vision of the debilitating physical and psychological effects of colonialism.
    • 80 Metascore
    • 63 Critic Score
    As pleasant and effortless as Ramon Zürcher makes his formal persnicketiness and Akermanian aesthetic rigor seem, his film feels lightweight.
  10. True to its title, the film approaches death as both narrative endpoint and formal focus, its initial vivacious mischief giving way to a Manichean fable about the waning of the light.
  11. I Wish has a tough time balancing the heartfelt with the saccharine and too often feels slight.
    • 80 Metascore
    • 75 Critic Score
    The film's structure as a character study helps to subtly underscore the flawed justifications of a privileged kid's thought patterns and unchallenged value system.
    • 80 Metascore
    • 75 Critic Score
    Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.
    • 80 Metascore
    • 75 Critic Score
    Every bit as visceral an experience as Cave of Forgotten Dreams, and with a lead actor whose face radiates the same eternal quality as that of the late Klaus Kinski, The Mill and The Cross also feels a lot like live theater.
  12. To dismiss it as simply an act of hipster appropriation is to cop out, because appropriation is the film's thematic meat.
    • 80 Metascore
    • 100 Critic Score
    The doc positions The Shining as a comparably coiled, thematically overflowing microcosm--standing in for cinema, for history, for obsession, for postmodern theory buckling under the film's heft.
  13. The film provides welcome context for the semi-hysteria that recently took over the U.S. media in regard to Uganda's "Kill the Gays" bill.
  14. On the surface, Peter Strickland's film is an amusing black comedy that parodies the horror movie's continual status as the cultural black sheep of the cinematic landscape, but the filmmaker is most prominently concerned with painting a sonic portrait of alienation.
  15. A counterproductively "literary" film with no satisfying payoffs, Rutger Hauer's blind recluse notwithstanding.
  16. A poignant sense of time's unyielding forward progress and a mood of deep adolescent sorrow aren't enough to overshadow the insufferable blankness of Goodbye First Love's navel-gazing protagonists.
  17. Sweetgrass achieves a borderline abstract splendor that's furthered by the directors' avoidance of delving deeply into its human subjects, whose backstories and general circumstances are only alluded to through fly-on-wall scraps.
  18. By taking a disturbing and sometimes conflicted look at the prejudices that led to the West Memphis Three's imprisonment, it asks murky questions about how people could get something so wrong for so long.
  19. Gastón Solnicki's mapping out of his family's narrative from within never feels exploitative or self-absorbed.
  20. Asif Kapadia's documentary is ultimately less affecting and insightful on a universal thematic scale than on an individual, personal one.
    • 79 Metascore
    • 88 Critic Score
    It's Cristian Mungiu's staging and compositional skill that lends the material its true sense of dawning dread.
  21. It's the rare film to sell sex as something truly tender and life-affirming, and Helen Hunt, in particular, is lovely and poignant.
  22. It's important to talk at length about Pariah's aesthetic because of how it distracts from the emotional truthfulness of the sometimes heartbreaking, by and large gorgeously performed story.

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