Slant Magazine's Scores

For 2,638 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 A Spell to Ward Off the Darkness
Lowest review score: 0 Accidental Love
Score distribution:
2,638 movie reviews
    • 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.
  1. 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.
  2. 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.
  3. The overall experience is entirely immersive, thanks not only to the filmmakers' handheld camera, but also to the illusory nature of the staging.
  4. 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.
  5. 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.
  6. Lafleur denies Nicole the angsty treatments given similar characters in films like The Graduate and Frances Ha by refusing to saturate the film with an undergirding sense of charm, where the issues being faced are merely points of spasmodic uncertainty that will erode over time.
  7. A Simple Life may have one of the most accurate titles in all of cinema, as the film has a bracingly casual sense of day-to-day working-class life that recalls the films of Jean Renoir or, more recently, Olivier Assayas.
  8. Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
  9. 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.
  10. The cautious optimism with which it answers questions about rehabilitation and forgiveness is credible because the characters and setting feel so thoroughly authentic.
  11. At first glance, Tuesday, After Christmas seems, in both form and content, only a modestly ambitious endeavor. Yet the singular attention with which it carries out its aims-and the rigorous success it ultimately attains-is nonetheless unsparing, and bracing.
    • 81 Metascore
    • 100 Critic Score
    An ordinary drama embellished and in some sense infringed on by genre elements rather than the other way around.
  12. 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.
  13. 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.
  14. Chiemi Karasawa's documentary is remarkable for its candor, but it's a brutal honesty that Elaine Stritch herself gladly offers.
  15. Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
  16. Offers exactly what its title promises, unveiling this secret milieu through thoroughly meticulous animation.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. Tsai Ming-liang's debut makes one yearn for an alternative reality where it, not Pulp Fiction, became the beacon of '90s independent filmmaking.

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