Slant Magazine's Scores

For 3,019 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 Lords of Salem
Lowest review score: 0 Casa de mi Padre
Score distribution:
3,019 movie reviews
    • 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.
  1. 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.
  2. 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.”
  3. 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.
  4. 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.
    • 64 Metascore
    • 88 Critic Score
    The ultimate drama of Domain becomes how long he can be a witness to her self-destruction.
  5. 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.
    • 89 Metascore
    • 88 Critic Score
    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.
  6. 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.
  7. 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.
  8. 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.
  9. Joe Swanberg's films have grown into a reliable relief from the competitive, dehumanizing freneticism of much of American culture, marked by an affirming and understated sense of decency.
  10. A work of astounding sensitivity and precision, it argues for emotional honesty as a moral and psychic imperative.
    • 81 Metascore
    • 88 Critic Score
    Upstream Color is lush, rhythmic, and deeply sensual, a film of exceptional beauty.
  11. Israel's fractured psyche is plumbed via narrative splintering in Policeman, Nadav Lapid's compelling drama about his homeland's burgeoning social unrest.
  12. Lino Brocka's portrait of familial treachery and societal abandonment channels its melodrama through the filter of neorealism.
  13. The exquisite live-action Quill: The Life of a Guide Dog may be the family film of the year.
  14. It lulls us into its reckless passivity to the point that even the comedic duds possess a languid hint of funny.
    • 69 Metascore
    • 88 Critic Score
    Jessica Hausner is less interested in historical revisionism than mining this real-life tragedy for its existential thrust.
  15. It elegantly evolves from an absurdist comedy into a remarkably wounded and uprooted story of friends who're beginning to tire of their shared social cocoons.
  16. As played by an eloquently beleaguered Oscar Isaac, Llewyn Davis is arguably the most vivid and complex character the Coens have dreamed up since Marge Gunderson.
  17. The geometry of human relationships is the main theme of Hong Sang-soo's The Day He Arrives.
  18. The cautious optimism with which it answers questions about rehabilitation and forgiveness is credible because the characters and setting feel so thoroughly authentic.
  19. It conjures a menacing perspective on how the titular occupation hulls out empathy and cultivates a particularly unsettling strain of cynicism.
    • 87 Metascore
    • 88 Critic Score
    If The Kid with a Bike is a fairy tale, it's the unsentimental kind that locates the dark enchantment in characters discovering themselves during their most despairing moments. Still, it's certainly the Dardennes' fleetest, warmest film to date.
  20. It revives hope for a pop-art cinema that's capable of treating characters like actual human beings rather than pawns on a chess board.
  21. Beautiful, poetic, and hard-hitting without the use of excessive force and deeply layered with evolving and regional nuances of feminine experience
  22. Alfonso Cuarón's triumph is an invigoratingly clean, elegant display of action choreography, a La Région Centrale you can still take grandma to see.
  23. Albert Maysles's portrait of Iris Apfel gradually emerges with cathartic clarity without compromising her inherent mystery.

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