Slant Magazine's Scores

For 3,743 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 In the Family
Lowest review score: 0 Skin Trade
Score distribution:
3743 movie reviews
    • 100 Metascore
    • 100 Critic Score
    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.
  1. The biblical root of the [Dekalog] may suggest didacticism on its face, but whatever morals are advanced are decidedly ambivalent.
  2. Richard Linklater's film is an experiment in time, and one that's attentive to the audience's sense of empathy.
  3. What tends to right Moonlight, even when Barry Jenkins's filmmaking drifts into indulgence, is the strength of its actors.
  4. 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.
  5. Kenneth Lonergan's film gradually comes to its sense of exquisitely calibrated, hardened intimacy.
    • 96 Metascore
    • 100 Critic Score
    Even when the band plays away from private eyes or songs simply play over disconnected footage of them having fun, the strength of their songcraft is stirring.
  6. Alfonso Cuarón's triumph is an invigoratingly clean, elegant display of action choreography, a La Région Centrale you can still take grandma to see.
  7. The film makes no concessions about its dissatisfaction with the whole rotten lot of so-called western democracy.
  8. The film dares its viewers to consider that--for a couple of hours, at least--even when a thing seems too good to be true, it might not be.
  9. The film is virtually perfect: Nary a frame goes to waste in the establishment and development of plot and character, with the occasionally deviant touch serving to neutralize a sense of overly manufactured calculation.
  10. Robert Bresson's film hits with the effect not so much reflecting a cleansing of the soul, but rather a ransacking.
  11. This is muckraking journalism that moves confidently with the brio of an action thriller.
  12. Gillo Pontecorvo’s The Battle of Algiers is a political tract that understands itself also as a cinematic exercise.
    • 95 Metascore
    • 75 Critic Score
    Doubtless, Kathryn Bigelow's greatest strengths emerge when she can more freely flex her muscles as an action filmmaker.
  13. Barriers both transparent and persistently present encase the characters of A Separation, constricting them in ways social, cultural, religious, familial, and emotional.
  14. 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.
  15. It's the summative effect of the story's modest exchanges, unspooling one after another in long, tranquil shots, that lends the film its profound sense of loss.
  16. An astute summation of Mike Leigh's glum view of humanity, but also a challenge to this disposition and his own pessimistic perspective.
  17. 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.
  18. Both wonderfully complex and weirdly reductive at the same time—a formula, though, that seems as sound an embodiment of the human brain as any other.
  19. By its end, Maren Ade's Toni Erdmann is a work of laser-guided social critique and a comedy.
  20. By modeling its structure so closely after "All the President's Men," Spotlight only draws closer attention to its lack of scope and ambition.
    • 93 Metascore
    • 75 Critic Score
    There are more than a few striking images and intriguing ideas to be extracted from Tristana. [10 Oct. 2012]
  21. 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]
  22. 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.
  23. The film's criticism isn't primarily rooted in satire, but rather in fury and condemnation for those who seek to be gods while shamefully feigning to follow and praise one god.
  24. Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines.
  25. By de-emphasizing politics in favor of humanitarianism, Danielle Gardner's work also suggests how Americans might yet unify even as the world around them threatens to tear itself apart.
  26. Andrey Zvyagintsev never loses sight of the humans, who're allowed to display improvisatory behavior that deepens the majesty of the rigorously orchestrated tableaus.

Top Trailers