Slant Magazine's Scores

For 3,100 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 Jafar Panahi's Taxi
Lowest review score: 0 7 Minutes
Score distribution:
3100 movie reviews
  1. The film sympathetically renders the small humiliations and inconveniences of life as an old-world vampire struggling with modernity.
  2. 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.
  3. 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.
  4. Alice Winocour's take on this true story carries the superficial trappings of a period drama, but its perspective is entirely contemporary.
  5. Todd Kellstein doesn't allow you to entirely indulge convenient (though understandable and perhaps irresistible) armchair outrage.
  6. 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.
  7. George Miller orchestrates the rubber-burning pandemonium with the illicit smirk of someone who knows he's giving us exactly what we want.
  8. 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.
  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. 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.
  11. 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.
  12. The thrill of watching Fletcher and Neyman's fray unfold is intensified by Damien Chazelle's attention to the craft and challenge of musicianship.
  13. 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.
  14. 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.
  15. The film carves out a rich emotional sphere concomitant to its stunning production design, finding delicate poetry in the dispassionate pursuit of revenge.
  16. 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.
  17. 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.
  18. Other films of this ilk use widescreen composition to highlight a terrifying existential void, but these cramped frames tend to produce the nutty energy of cabin fever.
  19. Conditioning the audience to find dread in every seemingly innocent gesture, the film turns even the simplest touch between family members into something tinged with menace.
  20. Order may be restored to the Circus, the "bad" elements weeded out, but in the jaundiced world the film has spent the last two hours so effectively delineating, the barriers between good and evil have been shown to be essentially meaningless.
  21. We're simply presented a person in trouble, and we're allowed to recognize his problems as extreme embodiments of universal issues of terror, confusion, and loneliness.
  22. A raw, sophisticated, and stomach-turning look at what it means to be a young woman in Serbia, what it means to be a woman tout court.
  23. Poltergeist's most canny conceit is how it takes the concept of a haunted house—up to that point a gothic, remote icon (you practically had to accept a dare and then drive halfway across the state to ever find yourself in one)—and plops it in the middle of the most mundane of all possible locations: American suburbia.
  24. An issues documentary that scores its points through a seductive combination of clearly stated arguments and pithy humor.
  25. It spins the narrative of one of the Victorian art world's most mysterious marriages into a study of life lived and life merely examined, a fecund fairy tale in reverse.
  26. Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
  27. A Summer's Tale's linear structure and sense of observation is simple yet inspired.

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