Slant Magazine's Scores

For 4,150 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 8.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Cemetery of Splendor
Lowest review score: 0 Queen of the Desert
Score distribution:
4150 movie reviews
  1. Though visionary, David Robert Mitchell's film abounds in undigested ideas and dubious sexual politics.
  2. It displays an intimate chemical understanding of the exhausting and unrelentingly impotent agony of failure.
  3. This is a sports tale in which the character building has almost nothing to do with the sport.
  4. Chaitanya Tamhane's grand canvas is Indian society as represented by its legal system, and what it reveals is none too flattering.
  5. Mapping the intersection between history and emotion, Michael Almereyda finds himself in Alain Resnais terrain.
  6. As striking as Mudbound's combat scenes are, they largely exist as setup for the postwar-set second half of the film, which scrutinizes the way that the atrocities witnessed in Europe laid bare the unsustainable hypocrisy in America's own bigoted divisions.
    • 83 Metascore
    • 63 Critic Score
    While the film is seemingly accessible as a portrait of an artist who seems particularly attuned to his own creative process, and particularly adept at describing this attunement, it's unlikely that many who aren't already whole-hog Bad Seeds fans would be able to stomach much of Cave's self-styled pomposity.
  7. It suffers by resembling arty, didactic bloat when it most begs for a more sophisticated dramatic touch.
  8. One of the Ryan Coogler film's greatest traits is its reticence, its refusal to say 10 words when two will do, or to say one word when silence says it all.
  9. The documentary is committed not to some pseudo-factual documentary tradition, but to a more engaging realist poesis.
  10. 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.
  11. It's a shame that the José Luis Guerín film's verbal qualities far outpace its formal attributes.
  12. The filmmakers use a wide range of cinematic techniques to convey the tenuous environment in which their subjects find themselves.
  13. Character relations are hinted at and even primed for confrontation, but without payoff or meaningful conclusion.
    • 82 Metascore
    • 88 Critic Score
    In essentially offering up The Twelfth Night as a hazy Shakespearean mash-up, Viola isn't so much deeply disrespecting notions of ownership, authorship, etc., as charitably redefining them.
  14. Its director's romantic sensibilities wed to Terrence Rattigan's 60-year-old play, this period drama is buoyed by Rachel Weisz's poignant embodiment of a bourgeois wife seeking erotic autonomy.
  15. It does well in using dialogue to shape its escalating tête-à-tête, but the filmmaking is too fuzzy to expand on those ideas.
  16. Shirley Clarke's portraiture eschews cohesive biography and often spirals off into lyrical dissonance.
  17. Hong Sang-soo simultaneously positions filmmaking as the ultimate act of atonement and evasion, eviscerating himself so that he may live to stage several more films about the futility of getting hammered and worshipping and bedding gorgeous young women.
  18. El Velador doesn't pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
  19. The psychological wars that have made the prequels simmer with tightly wound tensions are given their most cutting treatment yet.
  20. There's tremendous dramatic value to the aching and sometimes devastating scenes that home in on these kids' private torments.
  21. Gomes contemplates the many human dimensions wavering under the surface of this town, whether it’s the mythologies crowding a town’s gossip session or the tall tales flooding rants at a local bar. This is a collective voice of character rather than a dry document of reality.
  22. Therein lies the root of The Exorcist’s nature: In the absolute absence of scientific or spiritual comfort, it takes sheer human fortitude (from the film’s characters and audience) to overcome the most intrinsic of fears.
  23. The near-surgical precision with which Yorgos Lanthimos approaches the most surreal of conceits turns out to be a double-edged sword.
  24. Tsai Ming-liang's debut makes one yearn for an alternative reality where it, not Pulp Fiction, became the beacon of '90s independent filmmaking.
  25. Like the original cast’s best movie, The Wrath of Khan, this Star Trek essentially turns out to be a war film, with the occasional philosophical timeout to discuss love, friendship, and duty until the next bone-crunching fistfight or multi-weapon rumble with the Romulans. But Bana’s villain lacks the wit and corny majesty of Ricardo Montalban’s.
    • 82 Metascore
    • 75 Critic Score
    Noah Baumbach's film feels like too perfect a portrait of quarter-life malady, down to the rushed redemptive endnotes and Greta Gerwig's idealized heroine.
  26. An acutely felt, altogether devastating family drama as intimate and affecting as it is sprawling and untamed.
  27. The endless scenes of burning buildings and macho posturing merely provide an action-driven context for the filmmakers to deal with more personal topics like loneliness and resiliency.

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