Slant Magazine's Scores

For 2,677 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 Goodbye to Language 3D
Lowest review score: 0 Gimme Shelter
Score distribution:
2,677 movie reviews
    • 87 Metascore
    • 88 Critic Score
    If the film were to propose a mandate for animation, it would be what the medium's etymology has longed suggested: to make the inanimate full of life.
  1. It's as if Carlos Saura were calling the bluff of spectacle-oriented narrative cinema that necessitates excusing its excesses with characters and plotting.
    • 59 Metascore
    • 88 Critic Score
    Joe Swanberg's idea of making audiences "happy" is by acknowledging what his supporters and detractors have been saying about him for a number of years, but presenting these things within the same game of elliptical story-unraveling and confession that's governed most of his other films.
  2. The filmmakers use a wide range of cinematic techniques to convey the tenuous environment in which their subjects find themselves.
    • tbd Metascore
    • 88 Critic Score
    The film uses a country-mouse-and-city-mouse template to explore morality, aesthetic sense, urban and rural savvy, and a host of other concerns.
  3. The film is uproariously funny, but its laughs don't come with an aftertaste of cynicism so much as they are the aftertaste of cynicism.
  4. Slavoj Žižek manages to explain some of Lacanian psychoanalysis's most inscrutable notions with disarming clarity and infectious urgency.
  5. The film's plot isn't unusual, but director Ron Morales strips it down to its primal essence.
  6. In form, it's no wham-bam VFX sizzle reel replete with sputtering, ejaculatory climaxes. It's the magnificently sustained equivalent of Ravel's "Bolero," with nuclear warheads in place of timpani rolls.
    • 75 Metascore
    • 88 Critic Score
    The documentary enables its viewers to confront poverty on a human level by presenting its subjects, for the most part, like anyone else, living lives, despite their socioeconomic difference, relatable to our own.
  7. A ticking stopwatch hangs over Weekend that amplifies the intensity of every conversation, every fight, every drink, every copulation. In other words, it's a device.
  8. Humor and sorrow are equally immediate emotions throughout, whether in the writer-director's traditionally structured setup-punchline scenes or his strange non sequiturs
  9. The endless scenes of burning buildings and macho posturing merely provide an action-driven context for the filmmakers to deal with more personal topics like loneliness and resiliency.
    • 67 Metascore
    • 88 Critic Score
    The film rejects a fawning (or even particularly detailed) account of mental illness in favor of a plunge into the deep end of a bottomless ego.
  10. The Tree of Life's fetching images are like glowing shards of glass, and together they form a grandiose mirror that reflects Malick's impassioned philosophical outlook. It's unquestionably this great filmmaker's most personal work, a revelation of how he came to be, why he creates, and where he feels he's going.
  11. Though it's as schematic in construction as "Incendies," the film doesn't grind along to a ponderous plot; it's unnerving abstraction of its subject matter more daringly relays Villeneuve's view of the human cost of gender warfare.
  12. Cristián Jiménez's film knows how entangled the will to know is with the will to make love.
    • 71 Metascore
    • 88 Critic Score
    Because of its choice in subjectivity, and despite the film's historical context, 11 Flowers firmly elevates the experience of the personal over the political.
  13. At first glance, Tuesday, After Christmas seems, in both form and content, only a modestly ambitious endeavor. Yet the singular attention with which it carries out its aims-and the rigorous success it ultimately attains-is nonetheless unsparing, and bracing.
  14. Japanese poet and cult filmmaker Shion Sono defines himself as an anti-establishment artist partly out of cynicism and partly thanks to his romantic concept of libertarianism.
  15. A unique, audacious studio movie, kicking off as a star-driven spectacle before whittling itself down to a raw and riveting character study.
  16. Few recent studies of commercialized sex have been character profiles, so Rob Schröder and Gabrielle Provaas's documentary is an unusual and welcome polemic.
  17. If Rebirth's subjects are active guides documenting a fluid psychological landscape, Jim Whitaker constructs a specific cinematic geography around them with stunning time-lapse photography of Ground Zero.
  18. The film is no tearjerker, but it makes the stage play's hidebound, soul-baring pleasures mesmerizing on screen, and without copping to reductivism.
  19. As always, Wes Anderson places his trademark precision in direct confrontation with the chaos and confusion menacing his beloved characters.
  20. The film isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.
  21. Dashing across the screen in all its bloody, gilded glory, the awesome and beautiful Immortals marks an all-win scenario.
    • tbd Metascore
    • 88 Critic Score
    Just as Rirkrit Tiravanija had done in the '90s when he converted New York City galleries into live kitchens, he changes one's relation to a movie theater to a space for meditation.
    • tbd Metascore
    • 88 Critic Score
    Few other British films from that period seem to mythologize the pre-war period of Churchill's youth and early career quite as potently as Colonel Blimp.
  22. Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.

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