Slant Magazine's Scores

For 2,752 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% 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 Hard to Be a God
Lowest review score: 0 Love, Wedding, Marriage
Score distribution:
2,752 movie reviews
  1. There's a comic streak to the film that suggests David Fincher may understand the material as trash, but it's the kind of affectation that only reinforces, rather than dulls, its insults.
  2. Though relentlessly and admirably logical, the movie constantly glosses over the buried human element.
  3. The title of Susan Froemke's documentary is both an expression of aspiration and a statement of achievement.
  4. Israel's fractured psyche is plumbed via narrative splintering in Policeman, Nadav Lapid's compelling drama about his homeland's burgeoning social unrest.
  5. It compellingly captures a family wrestling mightily with the riddles and contradictions of a culture that promotes achievement at all costs with little thought as to what that actually means.
  6. This is a fanboy movie, one more engaged with the excitement of possibility than that of reality, and whatever the noxious connotations of that form of film appreciation, this particular project does a pretty fantastic job of stirring up enthusiasm.
  7. 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.
  8. Poltergeist's most canny conceit is how it takes the concept of a haunted house—up to that point a gothic, remote icon (you practically had to accept a dare and then drive halfway across the state to ever find yourself in one)—and plops it in the middle of the most mundane of all possible locations: American suburbia.
  9. It never bothers to attempt the one thing we'd expect and hope from a documentary about Ricky Jay: It doesn't try to bamboozle us.
    • 79 Metascore
    • 88 Critic Score
    As is so often the case in Jim Jarmusch's films, simply spending time in the company of his creations proves engrossing.
  10. Lake Bell holds the thing together through sheer charisma, and in fact the foibles of the movie only start to show when she absents herself for extended stretches of time.
  11. This is a summer blockbuster contingent on grand bargains, tactical retreats, and a ferocious, inevitable shock-and-awe campaign.
  12. Steeped in De Palma's glorious violence and sinuous cinematography, but stripped of his tricky sensuality and his anarchic self-reflective wit, The Untouchables boils down to a lot of talk.
  13. Like the movie itself, every character is a beautiful swirl of contradictions.
  14. The second act shifts the film from a lazy and comfy litany of introductions to a riveting fantasia of pure cinema, wherein Lee paints an oft-wordless picture of nature's harshness and grace, the perfect arena for Pi to have a Christ-like coming of age.
    • 79 Metascore
    • 75 Critic Score
    Renate Costa's doc gradually simplifies into an elaborate seesaw between general, journalistic scoopery and unabashedly personal confrontation.
  15. More than just a relationship drama of striking specificity, this is a naked confession about addiction.
  16. The film unfolds in unhurried dramatic terms that come to take on an almost fatalistic force.
  17. Despite crafting a consistently engaging film, the director doesn't present the full scope of Sixto Rodriguez's life.
  18. A film for those who, whether here or in Israel, believe the law is the beginning, and not the end, of rights discourse.
  19. The filmmakers spend vastly more time chronicling bigoted remarks from Romanians about gypsy life than they do actual gypsy life, so a minor crisis of perspective hangs over Our School.
  20. It's occasionally too icily removed, but it compensates through its perpetual concern with understanding its characters and their untenable situations.
  21. It resembles a satirical treatise of self-reflection, functioning simultaneously as a summation of Bruno Dumont's thematic interests over the previous two decades and as a bonkers remake of Humanité.
  22. A stunning work of war reportage nestled within a creaky study of ideological purity.
  23. The film is more interested in performance and symbolism than in the meaning of its characters' words or their substitutive gestures.
    • 78 Metascore
    • 75 Critic Score
    A lot of critics will talk about how the movie is a stripped-down, "pure" genre piece, and there's a lot of truth to that. What may not get as much press is the way stripped-down-ness is an affectation, and always has been.
  24. Hong Sang-soo once again corroborates auteurist theory at the same time that he reveals the potential shortcomings of its practice.
  25. Enough can't be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener's latest articulation of white suburban anxieties.
  26. Jay Bulger's seemingly erratic documentary formally channels Ginger Baker's almost defiant refusal to lead a life that adheres to a linear narrative.
    • 78 Metascore
    • 63 Critic Score
    Sergei Loznitsa occasionally writes his ideas too explicitly in the film's dialogue, though he makes up for this by deftly employing some ironic symbolism elsewhere.

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