Slant Magazine's Scores

For 2,617 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:
2,617 movie reviews
  1. Control is the operative element in Benoît Jacquot's work, with the main caveat being that when someone has it, someone else does not.
  2. The near-imperceptible finesse of Abby's characterization reflects writer-director Stacie Passon's effortless, interesting mix of richness and economy.
    • 82 Metascore
    • 88 Critic Score
    For Carl Dreyer, to film a miracle took a single shot; for Bruno Dumont, a whole film. In Le Havre, Aki Kaurismäki needs four shots to capture his - and what an ordinary event it is!
  3. Tsai Ming-liang's debut makes one yearn for an alternative reality where it, not Pulp Fiction, became the beacon of '90s independent filmmaking.
  4. Asghar Farhadi's sensibility embodies a combination of empathy and paranoia that's striking considering that the latter is normally driven by self-absorption.
  5. The next step in Jafar Panahi's personal cinema of captivity, a fully fictionalized, wildly bewildering work which imagines a man at war with his own creative impulse.
  6. "You should always be happy." That's a succinct encapsulation of the proudly optimistic spirit animating this joyous film, a worldview which the rest of Girl Walk // All Day illustrates with a combination of thrilling street ballet, exultant music, and unflagging verve.
    • 77 Metascore
    • 88 Critic Score
    To Wong, love isn't something you can talk about; words are inadequate, empty, inevitably reductive. Love is something you see, sense, feel, and Chungking Express is one of Wong's purest evocations of its excitement and heartbreak.
    • 87 Metascore
    • 88 Critic Score
    It can't be overstated just how Nothing But a Man is militantly tone-deaf to the Hollywood muzak of race relations.
  7. Johanna Hamilton's 1971 represents a mind-blowing scoop disguised as a fairly garden-variety issue doc.
    • 58 Metascore
    • 88 Critic Score
    Diamond-hard and dazzlingly brilliant, David Cronenberg's film plays like a deeply perverse, darkly comic successor to Videodrome.
  8. The film believes in maturity, but only as a freely continual process of acceptance.
    • 75 Metascore
    • 88 Critic Score
    The film sympathetically renders the small humiliations and inconveniences of life as an old-world vampire struggling with modernity.
  9. It's a bit reductive in terms of a personal portrait, but this is a film that's not concerned with telling the story of a man, instead making him a representative symbol of a mostly bygone way of life, a reminder of both the fleeting nature of individual experience and the steady patterns of a broader human existence.
  10. A playfully self-reflective rumination on what writer-director Terence Nance has described as "self-awareness through experience with love."
    • 87 Metascore
    • 88 Critic Score
    Brief Encounters is great entertainment.
    • 72 Metascore
    • 88 Critic Score
    JFK
    JFK still retains a primal power; no number of derivative, headache-inducing CSI episodes can blunt the impact of Stone's aggressive visuals, and the film's plea for accountability and honesty in government is as vital now as ever.
  11. Alice Winocour's take on this true story carries the superficial trappings of a period drama, but its perspective is entirely contemporary.
  12. Todd Kellstein doesn't allow you to entirely indulge convenient (though understandable and perhaps irresistible) armchair outrage.
  13. A lot of evil is laid on the table in El Sicario, and the film makes a big, if exquisitely subtle show, of theorizing that there's no way to explain how it got there.
  14. Broomfield isn't so much dedicated to journalistic truth or social ethnography as he is displaying bodies and mindsets of individuals that complicate any sense of Manichean polemics, where good and evil must be reckoned with at a purely secular and corporeal level, particularly along the lines of class and gender.
  15. 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.
  16. The film's peculiarly exhilarating effect can be attributed to a sense of social outrage that's transcended for the sake of metaphoric social clarity.
  17. No one corporation or person plans to trample over the wellbeing of the Ghanaian people, but as the story of the development progress, the breadth of Rachel Boynton's research shows how it will occur regardless.
  18. The thrill of watching Fletcher and Neyman's fray unfold is intensified by Damien Chazelle's attention to the craft and challenge of musicianship.
  19. 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.
  20. El Velador doesn't pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
    • 55 Metascore
    • 88 Critic Score
    In almost every respect, Extraterrestrial is an exceptional and traditional romantic comedy. It just happens to be set during an alien invasion.
  21. At this point in the franchise, Anderson is content to alight the saga on a perpetual rewind loop, ever-ending, ever-rebooting, all subsidized by his nonpareil compositional sense.
  22. In its stripped-down realism and blistering fixation on its main character's grappling with life and mortality, the film is kin to Roberto Rossellini's collaborations with Ingrid Bergman.

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