Slant Magazine's Scores

For 3,844 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Wake in Fright (1971)
Lowest review score: 0 The Moment
Score distribution:
3844 movie reviews
  1. The film allows the sorrows of losing a life and the joys of saving it to remain congruent.
  2. Ira Sachs's push for heartrending poetry makes it clear that the film is putting too fine a gloss on the acute pains of one small tragedy.
  3. Pablo Larraín has captured Pablo Neruda in all of his pomposity, pretense, courage, and undeniable genius.
  4. Pablo Berger digs for emotional intensity in his gothic retelling of Snow White and only uncovers layers of gloss.
  5. 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.
  6. Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
  7. Denis Villeneuve's film views life in the age of the modern-day drug war as an ever-crescendoing existential nightmare.
  8. Every substrata of music geekdom deserves a period piece as intimate as Eden, Mia Hansen-Løve's swan song for the golden era of French house music.
  9. 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.
  10. Aesthetically, the film cunningly suggests life that exists solely within an academic experiment, closed off from chaos that isn't manufactured.
  11. 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.
  12. 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.
  13. Ross Lipman's gloriously egalitarian approach to culture means that his complex argumentation never becomes inaccessible.
  14. The film's searching images counterpoint the hyper-articulate methodology of its characters' sense of imbalance and uncertainty.
  15. 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.
  16. It's when Stephen Dunn dares to inhabit the how and not the what of queerness that Closet Monster feels authentic and deliciously strange.
  17. Coming Home is a film in which everyone's dreams are irrevocably broken, the pieces too small to grasp, let alone pick up.
  18. 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.
  19. The film has a streamlined efficiency, but it feels like the work of a master who wants to please rather than probe.
  20. It has generous lashings of Aardman Animations' trademark warmth, visual inventiveness, and satisfying Claymation tactility.
  21. 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.
  22. 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.
  23. It forays into satirical terrain in order to elide actual dealings with the problems at hand, so that each piece feels alternatively frivolous and weighty.
  24. Feras Fayyad's film is broadly concerned with portraying the titular Syrian city as a community of neighbors and colleagues.
  25. 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.
  26. Raw
    Throughout Raw, Julia Ducournau exhibits a clinical pitilessness that’s reminiscent of the body-horror films of David Cronenberg.
  27. Under the Sun's overall aesthetic identifies a willingness to settle for an easy condemnation of an obviously abysmal regime, while not doing anything challenging or enlightening with all the outstanding footage collected.
  28. 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.
  29. No
    A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.

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