Slant Magazine's Scores

For 2,675 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 Hard to Be a God
Lowest review score: 0 Star Wars: Episode I - The Phantom Menace
Score distribution:
2,675 movie reviews
  1. Director Casper Andreas does a good job conserving a simultaneous sense of disgust and attraction for the way big-city dreams end up stripping off wannabes from everything but their bodies.
  2. Writer-director Charles Martin Smith's tin ear for dialogue and contrived symbolism is as unmistakable as his enormous heart.
  3. Robert Ben Garant and Thomas Lennon display a freewheelin' sense of invention that should be watched closely, because they have the raw stuff of major comic filmmakers.
  4. Nanni Moretti's latest is a mixed bag that too often settles for easy, superficial laughs.
  5. It waffles between dramatizing youthful self-absorption and succumbing to it, and this tonal instability comes to effectively mirror the domestic discord that's revealed to be its real subject.
    • 69 Metascore
    • 63 Critic Score
    As thorough as the filmmakers are in providing a political context for Fishbone, they're often reduced to tunnel vision in an attempt to lift the unheralded band to its rightful place in music history.
  6. The film, although it positions itself in dialogue with contemporary debates about the border, eschews a clearly delineated historical narrative.
  7. The filmmakers' very particular sense of lighting and framing, though handsome, often exudes a formality that perpetually stifles the story's sense of spontaneity.
    • 75 Metascore
    • 63 Critic Score
    If you need it, the documentary offers a devastating, and often beautifully shot, reality check.
  8. Jake Gyllenhaal embodies the two roles with real presence, establishing Adam's sniveling wimp and Anthony's striding jerk as two believably discrete sides of the same coin.
  9. Like other Niccol films, Good Kill is about an essential innocent who dreams of release from a highly structured, classist, and hypocritical environment.
    • 65 Metascore
    • 63 Critic Score
    A thoughtful piece of documentary journalism that synecdochically uses the controversial redevelopment of the Fulton Street Mall to talk about the process of gentrification.
  10. 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.
  11. Forlorn depictions of love and death may dignify Neil Jordan's film, but narrative withholding ultimately drives a stake into its unmistakable heart.
  12. Take This Waltz is full of chance encounters, some less likely than a lobby with nine hundred windows or a bed where the moon has been sweating.
  13. A nose-to-the-ground crime thriller that also doubles as a wide-ranging portrait of official corruption in the Philippines, On the Job has little trouble delivering the genre goods.
  14. This adaptation is to concerned with narrative fidelity and formal objectivity to pierce the veil of power dynamics that largely comprises the film's concerns.
  15. Too often Jimmy P. seems to struggle in making its interesting ideas apparent, leaving them stranded beneath the dry surface of an otherwise ordinary procedural.
  16. A portrait of the eve of 2008's financial crisis that plays out with funereal inevitability, Margin Call loves speechifying, but the film is far more assured when lingering in the silence of its morally compromised characters.
  17. The doc is heartwarming, but it doesn't delve deeply into the backstories that inform the ailing patients' connection to the music that stirs their memories.
  18. This arc may sound particularly familiar on paper, but To Be Heard finds the unique passions and heartaches in all three stories, allowing the viewer to become invested in whatever outcome befalls each subject.
  19. It does well to put more focus on delivering a plethora of jokes, imitations, zippy repartee, and sight gags than its plot's familiar machinations.
  20. What Puiu seems to be suggesting is that the complexities of human behavior and relationships are beyond the power of the law to comprehend, but are they also beyond the power of the cinema?
  21. Makes a compelling case for games as not only clever hand-eye coordination exercises, but also as manifestations of their creators' emotional and philosophical viewpoints.
  22. The film's most striking quality, and it's not insignificant, is director Margarethe von Trotta's refusal to fossilize the controversies she dramatizes.
  23. The film, more likely to invite comparisons to the writings of Marcel Proust than the previous Ip Man films, is a gorgeous folly that never entirely emerges from its creator's head.
  24. Accusation is the rhetoric of outrage, and Arnon Goldfinger can't bring himself to experience even conservative anger, regardless of its appropriateness.
  25. 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.
  26. The goings-on can rarely be called truly compelling, even if they're almost always generally pleasant.
  27. The film too often undercuts its goals by indulging its director's need for self-affirmation at the expense of the movie's far more compelling central subject.

Top Trailers