Slant Magazine's Scores

For 3,105 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 8.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Score distribution:
3105 movie reviews
    • 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.
  1. 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.
  2. Beautiful, poetic, and hard-hitting without the use of excessive force and deeply layered with evolving and regional nuances of feminine experience
  3. Alfonso Cuarón's triumph is an invigoratingly clean, elegant display of action choreography, a La Région Centrale you can still take grandma to see.
  4. Albert Maysles's portrait of Iris Apfel gradually emerges with cathartic clarity without compromising her inherent mystery.
  5. Its allegory for internalized homophobia, a gay man's perilous attraction to straightness itself, seems in this case deeply persona.
  6. The soft colors, graceful movements, and clean lines together embody the ineffable beauty of life on Earth that is one of the film's main themes.
  7. Sion Sono's film is a vision of coming of age as trial by fire, a thunderous encapsulation of that period of transition in which adolescents try to discover themselves: their passions, their purpose, their sense of morality.
    • 86 Metascore
    • 88 Critic Score
    An inspirational and heartbreaking nail-biter, The Interrupters was more difficult for me to watch than any battle documentary I've seen in years.
    • 84 Metascore
    • 88 Critic Score
    The evocation of things ending suffuses the film with melancholy, as Anders increasingly becomes an observant rather than a participant in his own life.
  8. Ross McElwee is less anxious of death itself than of finally comprehending the vast faultiness of the life he's lived.
  9. Regarding Michel Piccoli's Max, Claude Sautet's film resists judgment, neither condoning nor signposting the despicable nature of his choices.
  10. With the film, Lee Daniels quietly pushes his talent for hashing out visceral, violent emotions into unexpected dramatic terrain.
  11. These films have always been about the power of words, their ability to bridge gulfs of time and space, the thrill of ideas and opinions taking definitive shape.
  12. Staring deep into the darkness of an apparently static character, Nuri Bilge Ceylan again exhibits his gift for making interesting stories out of predetermined plots, locating small eddies of change in the midst of eternally fixed dynamics.
  13. Although the film remains continually fanciful, it always reminds us of the stakes in which precocious childhood rubs up against the possibility of a childhood denied altogether.
  14. The film is a conversation between two disadvantaged artists with indelible personalities, both of whom are unabashedly manipulating their way into at least the esoteric side of the everlasting.
  15. Tim Heidecker's Swanson does not amuse us in spite of the pity he inspires but because of it.
  16. What Omar best portrays are the limitations that result from having an occupation, and the fight to overthrow it, dominate a person's entire life.
  17. While Jonathan Lisecki is well in tune with his film's niche market, his knack for comedy, both visual and verbal, is universally hilarious.
  18. The film captures Vreeland's perhaps unwitting philosophical integrity just as much as it drowns us in the exuberance of her work.
    • 82 Metascore
    • 88 Critic Score
    In essentially offering up The Twelfth Night as a hazy Shakespearean mash-up, Viola isn't so much deeply disrespecting notions of ownership, authorship, etc., as charitably redefining them.
  19. Eliza Hittman's film captures the exclusive properties of sex with a degree of intimacy and empathy that, at times, feels authentically revelatory.
  20. The film ultimately understands poverty as a profound and often irreversible desolation of terra firma.
    • 74 Metascore
    • 88 Critic Score
    Minimalist in its aesthetics and soundtrack, quiet and deliberate in its plot, but nonetheless familiar--endearing and a vital addition to the small but growing Tibetan cinema.
  21. Reminiscent of Woody Allen's great, under-sung Manhattan Murder Mystery, it utilizes a pulp conceit as a shorthand for the regrets that bubble up in a marriage.
  22. We experience the delay of the fantasy of the happy old couple in their country home in cinematic time as, for most of the film, the only body these lovers have is the spellbinding combination of visual fragments serving as apparitions to their voices.
    • 69 Metascore
    • 88 Critic Score
    Hong Sang-soo hits the beach once again in his latest project, another austerely amusing study of hopeless neurotics making a mockery of leisure.
  23. It ever so subtly zeros in on the extreme particularities of a remote place to find something universal, or at the very least easily comprehensible about despair.
  24. At once a microcosmic expression of frustration and another of auto-critique, When Evening Falls devilishly recalls and riffs on seemingly shapeless conversations between its very small ensemble of characters without succumbing to soporific navel-gazing.

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