Slant Magazine's Scores

For 3,694 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Li'l Quinquin
Lowest review score: 0 Mother's Day
Score distribution:
3694 movie reviews
  1. Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
  2. A Summer's Tale's linear structure and sense of observation is simple yet inspired.
  3. Its horrors go beyond any single raggedy phantom, reaching back to the primordial fear of death and loss: of a child, of a loved one, of one's own sense of self.
    • 79 Metascore
    • 88 Critic Score
    As is so often the case in Jim Jarmusch's films, simply spending time in the company of his creations proves engrossing.
  4. Steven Spielberg's film may further the heroism so associated with its subject, and favor a liberal viewpoint that leers down at the Confederates, but it's no bleeding-heart glamorization.
  5. A magnificently quizzical diagram of two ceaselessly inquiring minds in perfect tandem, like a raw X-ray of atomized creativity.
  6. Visually glassy and smooth, Perfect Sense values the dynamic mood of each scene without being overly stylized.
  7. A boldly conceived assemblage of diverse and seemingly random fictional materials, Athina Rachel Tsangari's Attenberg is concerned with nothing less than those hardy perennials: sex, death, and modernity. And coming of age a little too late.
  8. James Schamus's screenplay is rich with culturally specific details that deepen these forking moral predicaments.
  9. Metropolitan celebrates and mourns the specific character of a place and time, youthful associations and crushes, a toolkit of values, even if those values are not exactly shared by, say, housewives in Duluth and auto mechanics in Albuquerque.
  10. Between their wildly different bodies of work, a shared appeal emerges: to stop, look, listen, and consider not just what's in front of you, but also where it came from and where it might be going.
  11. A delirious representation of incipient personalities in bloom, its form as amorphous and reckless as the vibrant youths it portrays.
  12. As in the very best Anthony Mann and John Ford westerns, Looper at once understands the visual power of violence and is deeply critical of it.
  13. It comes down on the essential hollowness of traditional gender roles like the avalanche that proves to be its inciting event.
    • 59 Metascore
    • 88 Critic Score
    When the genre-film spectacle arrives, it's in full force, and the strictures of the framing device manage to amplify, rather than suppress, the impact of the shocks and scares.
    • 64 Metascore
    • 88 Critic Score
    Nathan Silver captures the young-adult experience, particularly the agony of first sexual pangs, in films that deftly mix beguilement and repulsion.
  14. Andrey Zvyagintsev never loses sight of the humans, who're allowed to display improvisatory behavior that deepens the majesty of the rigorously orchestrated tableaus.
  15. It's a brilliant reversal that, while seemingly far less inspired than most of the director's efforts, leaves us with a film that's just as iconoclastic.
  16. By its end, Maren Ade's Toni Erdmann is a work of laser-guided social critique and a comedy.
  17. The film turns what at first seemingly appears as Kodak moments into a study of a soul in transition.
  18. Guillermo del Toro's fussiest, most compartmentalized construction, filled with the most powerful sense of repression and delusion.
  19. Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
  20. On the surface, Peter Strickland's film is an amusing black comedy that parodies the horror movie's continual status as the cultural black sheep of the cinematic landscape, but the filmmaker is most prominently concerned with painting a sonic portrait of alienation.
  21. A sense of anachronism is what provides the film with its melancholy heart.
  22. Neil Berkeley's documentary is as puckish as its subject, so steeped in artist Wayne White's creative juices that it makes you want to go straight home and start making things.
  23. Everything in the film is understood to be a subsumed sex act, with actual sex serving as a contextualizing catharsis.
  24. The documentary makes you wonder about every beautiful woman who's ever stared out from a publication, poster, or billboard, looking sophisticated and self-assured.
  25. Peter Strickland charges full-tilt into the objectifying whims of his fantasies in order to somehow reach the other end of perception, which acknowledges the ultimate empathetic limitations of said fantasies.
  26. A dizzying hall-of-mirrors stunt, a horror remake as autobiographical X-ray, and a work of fantasy that serves as a decadently cleansing creative exorcism.
  27. Something like a trippy grindhouse homage whose familiar images are refracted through a prism of blacklight posters, Jodorowsky films, and even Rob Zombie's grungy psychotropic sensibility.

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