Slant Magazine's Scores

For 4,084 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 8.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Long Day Closes
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
4084 movie reviews
  1. In a development that seemed to begin in earnest with "Sideways," a large part of The Descendents seems to operate on a non-narrative level.
  2. Clint Eastwood startlingly grips the audience with his sense of hypnotic silence, which carries suggestions of what might be termed politically apolitical pragmatism.
  3. Asghar Farhadi's 2006 film interrogates the tensions between tactility and vision in complex ways.
  4. Hero is elliptical, primal, radically disjointed, and female-empowering. Everything a wu xia should be…and then som
  5. The fact that Yates marshals a mile-long grocery list of business with the grace and poise of an orchestra conductor, and makes it look easy, isn't just flattery, it's an indication of his method.
  6. Pablo Larraín has captured Pablo Neruda in all of his pomposity, pretense, courage, and undeniable genius.
  7. A charged, unnerving turn of the screw, The Invitation is consumed by the fear of forgetting.
  8. Anocha Suwichakornpong earnestly and ambitiously attempts to redefine cinema’s conventional grasp of consciousness.
  9. Triumphs when David Chase's empowerment as a kind of autobiographical historian is balanced with the thrill of submersing the viewer in the tidal pool of his memories
  10. In Joshua Oppenheimer's extraordinary The Act of Killing, film becomes the medium for a bold historical reckoning--and in more ways than one.
  11. This sardonic depiction of Britain, as a land where a thin veneer of strained politesse and fussy specificity of tastes masks a throbbing heart of darkness, makes for Ben Wheatley's best film yet.
  12. Elite Squad: The Enemy Within is pure pedagogic bliss.
  13. Lee’s first film statement conveys the communal experience.
    • 90 Metascore
    • 88 Critic Score
    In its way, this effort is both a forceful assertion of the most stifling brand of auteurism and a radical reconfiguration of its political potential.
  14. The opaque ethics of The Chaser elide the reductive nature of binary pairs, focusing instead on the far more piquant complexity of human behavior.
  15. It's as unsparing a sketch of twentysomething life in New York City as American independent cinema has yet offered.
  16. It uses the trappings of the family melodrama to reveal the subtle social constraints that inhibit people, particularly women, from attaining full self-realization.
  17. By eschewing even basic B-roll footage, it ends up feeling even more stripped down than Frederick Wiseman's patient inquisitions, yet nearly as complex overall.
  18. It exhibits the spry subtlety of Jean and Luc Dardenne's films, and, consequently, it's possible that it will be similarly mistaken for a work of “naturalism.”
  19. Robinson's very name ties him to explorers like Crusoe and Walden, but he is also something like JLG's whispering leftist prankster who butted into 2 or 3 Things I Know About Her to intermittently spout rhetoric over images of freeways and construction sites.
  20. Winding up the tension to an almost stubborn degree, Ti West forestalls the inevitable disappointment of its release, a blow that's further softened by how immaculately the whole movie is shot.
    • 70 Metascore
    • 88 Critic Score
    Equally self-reflective and enjoyable is the score by Marc Shaiman and Thomas Richard Sharp that cuts a sweeping western theme into the waltz and college-sports tunes that color the film’s animated title sequence and then throughout its more comic set pieces—not even cutting out entirely during Crystal and company’s rendition of the Bonanza theme song. Rather, like the film itself, it beautifully accents Crystal’s high notes.
  21. Writer-director Boo Junfeng casually reinvigorates the prison drama, boiling its elements down to their primal essence.
    • 64 Metascore
    • 88 Critic Score
    The ultimate drama of Domain becomes how long he can be a witness to her self-destruction.
  22. Michael M. Bilandic deftly captures the arrogance and despair of New York artists in their efforts to succeed in a decadent world that forces them to produce inherently epigonic work.
    • 71 Metascore
    • 88 Critic Score
    Bestiaire argues persuasively without words, making a case without explicating one at all.
  23. In the style of an ambling, yet entirely focused visitor, the film continually circles back to pictures, protagonists, and situations to furnish them with new meanings, alter their perception, or even directly challenge their previous presentation.
  24. Appropriately, the images in the film, the most fluidly beautiful and resonant of Nathan Silver's career thus far, suggest flashes of memory relived from the vantage point of the future.
  25. Underlying the occasionally harrowing, consistently mournful tone is a philosophy that, more than being explicitly anti-capital punishment, puts both family ties and the social contract at the center of people's self-worth.
  26. As in Rodney Ascher's previous film, Room 237, the subject of obsession is complemented by a despairing attempt to process it, corral it, and somehow conquer it.

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