Slant Magazine's Scores

For 3,021 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 The Turin Horse
Lowest review score: 0 Casa de mi Padre
Score distribution:
3,021 movie reviews
  1. Presents a cast of characters who must continue fighting, for what's at stake is the very real, very imminent threat of their own deaths.
    • 82 Metascore
    • 88 Critic Score
    A marvelously elastic storyteller, a dry wit, and a Rivettean anti-determinist, the Chilean auteur Raúl Ruiz is fascinated by narratives that dilate from within, images seemingly full of secret passageways, and fabulists who collect tales like toys.
  2. An astute summation of Mike Leigh's glum view of humanity, but also a challenge to this disposition and his own pessimistic perspective.
  3. A wide-ranging piece of literary criticism brought to vivid cinematic life, bursting with ideas and inspired visual translations of them.
  4. The film has an atmosphere of endless experimentation, which compliments the constant revision the subjects apply to their lives in the wake of their economic insecurity.
  5. Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
  6. The conclusion is a testament to the fact that authentic justice is probably only attainable by accident.
  7. Evan Glodell's debut has the sweetness of a lullaby reverie and the blazing ferocity of a monster-car nightmare, a first-comes-elation, then-comes-madness structure that resembles that of "Blue Valentine," another tale focused on the commencement, and then collapse, of an affair.
  8. A film for those who, whether here or in Israel, believe the law is the beginning, and not the end, of rights discourse.
  9. Marc H. Simon's documentary has the thrust of a great American noir or black comedy.
  10. Michael Mann's camera elegantly collapses the spaces between bodies and objects without sacrificing spatial coherence.
  11. After a few turns in the modest narrative, an unlikely sense of structural resilience begins to emerge.
  12. The filmmakers are more interested in questioning what brings people to commit senseless and merciless acts than they are preoccupied with the historical record.
  13. Laura Poitras teaches by example, providing a privileged insight into Edward Snowden's personality and motivation while keeping the focus on government spying.
  14. Laurie Anderson condenses contemporary, human experience to the point where exterior and interior are made indistinguishable from one another.
  15. By de-emphasizing politics in favor of humanitarianism, Danielle Gardner's work also suggests how Americans might yet unify even as the world around them threatens to tear itself apart.
    • 67 Metascore
    • 88 Critic Score
    If the research that Cronenberg and Wagner engaged in for Maps to the Stars oftentimes appears more entomological than sociological, there's nonetheless a plaintive chord of melancholy that plays throughout the film.
    • 67 Metascore
    • 88 Critic Score
    The clash of styles in Damsels in Distress is bewildering and then disarming.
  16. Mitra Farahani rescues the doc from becoming a talking-head fest by embracing her creative self as a character and exposing the travails of her own authorship process.
  17. The Treasure is no thriller, but there are moments here that inculcate the stakes with prisoner's-dilemma paranoia.
  18. True to its title, Marielle Heller's adaptation of Phoebe Gloeckner's semi-autobiographical novel has the loosely structured, unfiltered feel of a young person's diary.
  19. The pleasure in watching the film becomes a linguistic one as Juliette Binoche and Kristen Stewart masterfully sharpen their words and hurl them at each other like projectiles out of a blowpipe.
  20. 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.
  21. Clint Eastwood startlingly grips the audience with his sense of hypnotic silence, which carries suggestions of what might be termed politically apolitical pragmatism.
  22. Hero is elliptical, primal, radically disjointed, and female-empowering. Everything a wu xia should be…and then som
  23. 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.
  24. 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
  25. In Joshua Oppenheimer's extraordinary The Act of Killing, film becomes the medium for a bold historical reckoning--and in more ways than one.
  26. 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.
  27. Elite Squad: The Enemy Within is pure pedagogic bliss.

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