Slant Magazine's Scores

For 2,385 reviews, this publication has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this publication grades 9.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 The Long Day Closes
Lowest review score: 0 Cold Fish
Score distribution:
2,385 movie reviews
  1. The faces of the culture - a group of nomadic Tibetans who raise yak and harvest caterpillar dung from ramshackle tents in the Chinese mountains - resist all but the most vague of ecological or political calls-to-action.
  2. Shat makes Our Idiot Brother work is the endless appeal of watching Rudd's lovable idiot run roughshod over the sophisticated New York mini-universe while winning the confidence and admiration of everyone around him.
  3. Hark's new film is a consummately bizarre crowd-pleaser that throws everything at the viewer from makeshift plastic surgery by acupuncture to death by spontaneous combustion.
  4. O'Conner continues to exhibit a deft knack for melding interpersonal drama with athletic competition in ways that, despite his tales' clichés, earn their melodramatic manipulations through genuine empathy for characters' plights.
  5. Simply and devastatingly letting five residents of San Francisco share their reminiscences of that city's nightmarish "war zone" in the early, horrific years of AIDS, We Were Here creates a harrowing, streamlined oral history.
  6. Assembled from short, naturalistic shots of people at work, the documentary becomes a bittersweet testament to labor and a damning representation of a vicious cycle, its images speaking entirely for themselves.
    • 78 Metascore
    • 75 Critic Score
    A lot of critics will talk about how the movie is a stripped-down, "pure" genre piece, and there's a lot of truth to that. What may not get as much press is the way stripped-down-ness is an affectation, and always has been.
    • 80 Metascore
    • 75 Critic Score
    Every bit as visceral an experience as Cave of Forgotten Dreams, and with a lead actor whose face radiates the same eternal quality as that of the late Klaus Kinski, The Mill and The Cross also feels a lot like live theater.
  7. Folklore, rituals, and the past weigh heavily on Silent Souls, which is somewhat endemic of films from Fedorchenko's home country of Russia.
  8. The staging of this dissociative roundelay is still presented in a forcefully lo-fi format, prizing roughly framed shots, improvisation, and flat characters, but there are ever clearer indications that Swanberg is producing something more than empty-headed slacker cinema.
    • 71 Metascore
    • 75 Critic Score
    At the same time that director Carl Colby probes into the true character of his mysterious father through an arsenal of interviews with those that knew him, he gives equal weight to the dark chapters of America's history that his father's life traversed.
  9. Sergei Loznitsa's documentaries are mainly compilations of archival footage, so it makes sense that his first fiction film is also essentially a compilation, an array of dynamic, aggressive bits rather than one coherent text.
  10. It's not easy to give a character study concerning mental illness the aspect of a psychological thriller without some notes of exploitation or trivialization creeping in, and Take Shelter makes a few missteps.
  11. As rigorous and stimulating as its thematic inquiries are, A Dangerous Method ultimately rests as much on its performances, and in that regard, it succeeds far more than it fails.
  12. Shit Year is a thematic twin to Billy Wilder's "Sunset Boulevard," both heightened fables about the slow disintegration of a retired actress mourning her now-dead career by retreating inward.
  13. One doesn't have to look too closely at Carnage's final shot to marvel at the way Polanski refuses to haughtily indict his audience in the pettiness of his characters' behavior.
    • 67 Metascore
    • 75 Critic Score
    Clooney's films as director often begin with a familiar point A and conclude at a less-familiar point B, deriving much of their interest from the circuitous path required to navigate the shift.
    • 45 Metascore
    • 75 Critic Score
    First-time writer-director Michael M. Bilandic's tongue-in-cheek, bare-knuckles approach to his ultra-low budget paean to a dying breed is a welcome piece of independent filmmaking.
    • 63 Metascore
    • 75 Critic Score
    Smartly, Sebastian Dehnhardt's film eschews hype and goes far beyond mere talk, shows as well as tells, by including fascinatingly instructive slow- mo shots of both men's fights to highlight the differences between the brawny duo, often mistaken for identical twins.
  14. This bio-documentary of a New Left godfather presents a formidable character simpatico with today's zeitgeist in his championing of "spontaneous uprising."
  15. Revenge of the Electric Car, which details the resurgence of interest in the mass production of the battery car, is sometimes too slick for its own good.
    • 35 Metascore
    • 75 Critic Score
    A moment's patience is soon rewarded by Anderson's vast store of rich, intoxicating imagery.
  16. An over-the-top Russian musical about hipsters set in 1950s Moscow, where getting a non-pastel-colored tie is a mafia-mediated operation and a saxophone is considered a concealed weapon? Yes, please.
  17. My Reincarnation has an effective bifurcated structure that testifies to the level of trust Jennifer Fox clearly established with her subjects.
  18. Stefan Knüpfer's subtle charisma feels more suited to a beefily human New Yorker article than a documentary film.
  19. Rampling is very much aware of the camera's every intention and possibility. Perhaps too aware, like the kind of over-educated narcissist for whom real spontaneity is too costly a risk.
  20. Overflows with inspired craziness, doling out an all-night odyssey of sex-centric crises, death-defying conflicts, and Neal Patrick Harris-centered insanity with snowballing momentum, as bits pile on top of bits with intoxicating verve.
    • 59 Metascore
    • 75 Critic Score
    Black's script, in the wrong hands, could have come under fire for confusing Hoover's twisted mind with his homosexuality or his problems with Mother. Eastwood doesn't seem to give a fuck, and only opts for one overt visual match, depicting as mirror images Hoover's lifeless corpse and the remains of the Lindbergh baby.
  21. What's easy to appreciate in the documentary, however, is the way it reassembles the Dzi Croquettes' trajectory without polishing off its jagged edges. It's through their brilliance and their flaws that they become muses.
  22. A yuletide fable that boasts Aardman Animation's peerless mix of whip-smart comedy and cheery heart.

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