Slant Magazine's Scores

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For 1,403 reviews, this publication has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 10.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 51
Highest review score:
House of Pleasures
Critic Score 100
Lowest review score:
One Fall
Critic Score 0
Score distribution:
  1. Positive: 628 out of 1403
  2. Mixed: 284 out of 1403
  3. Negative: 491 out of 1403
1,403 movie reviews
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    • Metascore: 100
    • Critic Score 100
    Voyage to Italy (re-release)
    As befits a filmmaker who defined as well as challenged the definition of Italian neorealism, Voyage to Italy unfolds as a thorny narrative and a profoundly personal documentary.
    • Metascore: 97
    • Critic Score 88
    Le Petit Soldat (re-release)
    Compared to "Breathless," Le Petit Soldat's images suggest a stronger sense of place, as characters seem inextricably linked to their environment. Overall, the film lacks the artifice of Hollywood cinema, which Godard admired but was looking to move past after catching flack from the French left wing.
  3. Before Midnight
    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.
  4. A Separation
    Barriers both transparent and persistently present encase the characters of A Separation, constricting them in ways social, cultural, religious, familial, and emotional.
    • Metascore: 93
    • Critic Score 88
    Stories We Tell
    Sarah Polley is much more interested in the malleability of memory and the consequential refractions felt throughout her kin rather than telling a linear narrative.
  6. Days of Heaven
    To hell with equivocation or beating around the bush: Terrence Malick's 1978 Days of Heaven is the greatest film ever made. And let the word film be emphasized, since Malick's sophomore masterpiece earns this exalted designation from its position as a work of pure cinema. [22 Oct. 2007]
  7. The Act of Killing
    In Joshua Oppenheimer's extraordinary The Act of Killing, film becomes the medium for a bold historical reckoning--and in more ways than one.
  8. Almayer's Folly
    Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines.
  9. Little Fugitive (re-release)
    The film's beguiling visual poetry and smatterings of sociological subtext function less than coherently as transitional markers between cinematic epochs, or even as the nascent burblings of any imminent DIY revolution; instead, they're redolent of a modernist apotheosis.
    • Metascore: 90
    • Critic Score 88
    This Is Not a Film
    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.
    • Metascore: 90
    • Critic Score 88
    Blue Caprice
    The filmmakers are more interested in questioning what brings people to commit senseless and merciless acts than they are preoccupied with the historical record.
    • Metascore: 87
    • Critic Score 88
    How to Survive a Plague
    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.
  13. Elena
    Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
    • Metascore: 87
    • Critic Score 88
    The Kid with a Bike
    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.
    • Metascore: 87
    • Critic Score 88
    Harry Potter and the Deathly Hallows: Part 2
    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.
    • Metascore: 87
    • Critic Score 100
    Wake in Fright (1971)
    The film's vision of masculine self-sufficiency is built around--and on, via Australia's own bloody colonial history--an elemental violence.
  17. The Autobiography of Nicolae Ceausescu
    Manages to be intimate and impersonal at the same time, a trait constantly reinforced by his portrayal of not only Ceausescu but the populace he led, represented, and controlled for nearly three decades.
    • Metascore: 87
    • Critic Score 88
    Gregory Crewdson: Brief Encounters
    Brief Encounters is great entertainment.
  19. Lincoln
    Steven Spielberg's film may further the heroism so associated with its subject, and favor a liberal viewpoint that leers down at the Confederates, but it's no bleeding-heart glamorization.
    • Metascore: 86
    • Critic Score 88
    The Interrupters
    An inspirational and heartbreaking nail-biter, The Interrupters was more difficult for me to watch than any battle documentary I've seen in years.
  21. Beasts of the Southern Wild
    Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
  22. Tinker Tailor Soldier Spy
    Order may be restored to the Circus, the "bad" elements weeded out, but in the jaundiced world the film has spent the last two hours so effectively delineating, the barriers between good and evil have been shown to be essentially meaningless.
  23. The Tree of Life
    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.
  24. Moonrise Kingdom
    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.
    • Metascore: 84
    • Critic Score 88
    Oslo, August 31st
    The evocation of things ending suffuses the film with melancholy, as Anders increasingly becomes an observant rather than a participant in his own life.
    • Metascore: 84
    • Critic Score 88
    Looper
    As in the very best Anthony Mann and John Ford westerns, Looper at once understands the visual power of violence and is deeply critical of it.
    • Metascore: 84
    • Critic Score 88
    The Descendants
    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.
  28. The Day He Arrives
    The geometry of human relationships is the main theme of Hong Sang-soo's The Day He Arrives.
    • Metascore: 83
    • Critic Score 100
    Leviathan
    Leviathan is a titanic achievement, a visceral overload whose impact registers immediately and with great force.
  30. El Velador
    El Velador doesn't pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
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