Slant Magazine's Scores

For 4,206 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 8.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Laurence Anyways
Lowest review score: 0 Star Wars: Episode I - The Phantom Menace
Score distribution:
4206 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. I still stare at it, amazed and entertained, but dwarfed by the very idea of attempting to untangle the crow’s nest that has formed through the film’s ever-expanding histories. And what continuously stupefies me is that time works no miracles on this particular film: Scenes remain familiar, but the narrative seems to shift every time I return to it.
  3. The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed.
  4. Richard Linklater's film is an experiment in time, and one that's attentive to the audience's sense of empathy.
  5. Many things reinforce the enduring greatness of Singin’ in the Rain, but its most charming element is the filmmakers’ love for and dedication to the basic tenants of cinema as pure enchantment, and an open indulgence of all the bells and whistles that have been allowed it to grow into something bigger and (arguably) better over the decades.
  6. What tends to right Moonlight, even when Barry Jenkins's filmmaking drifts into indulgence, is the strength of its actors.
  7. One hundred and six minutes is entirely too short a time span for Sheridan to cover Christy's entire life, but the performances are so profound they successfully fill in any and all gaps.
  8. 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.
  9. Magnificently paced and terrifically funny at nearly every turn, Some Like It Hot was imbued with an inherent distrust of capitalism and big business that Wilder regularly expressed in an only slightly covert manner.
  10. Felt in the full impact of a theatrical screening (with the pleasure of seeing patrons reflexively kick or stiffen at the sight of Miles startled by her mirrored reflection), its power is not just that of a showman’s calibrated scare machine, but of a somber fugue on the trapped 20th-century creatures who inhabit its world, clawing but never budging an inch.
  11. Steve McQueen's film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
  12. What's most interesting about the intense deliberations that ensue, specifically when a piece of seemingly indisputable evidence is brought back into question, is how a fresh angle and perspective, usually born from Juror 8's critical thinking, can permanently alter the tone of the discussion.
  13. Kenneth Lonergan's film gradually comes to its sense of exquisitely calibrated, hardened intimacy.
  14. Rosemary’s Baby is one of horror cinema’s all-time slow burns, drawing viewers gradually into entertaining the possibility that the movie’s series of strange coincidences and accumulating sense of dread are only subjective representations of Rosemary’s unraveling mental state.
    • 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.
  15. Alfonso Cuarón's triumph is an invigoratingly clean, elegant display of action choreography, a La Région Centrale you can still take grandma to see.
  16. Miyazaki celebrates individualism and nature’s simple, untainted beauties, subsequently pondering the transcendent power of communication between the “inside” and the “outside.”
  17. 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.
  18. 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.
  19. Robert Bresson's film hits with the effect not so much reflecting a cleansing of the soul, but rather a ransacking.
  20. This is muckraking journalism that moves confidently with the brio of an action thriller.
  21. Agnès Varda and JR's film develops into something approaching a manifesto for the possibility of shared happiness.
  22. The film makes no concessions about its dissatisfaction with the whole rotten lot of so-called western democracy.
  23. 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.
  24. Barriers both transparent and persistently present encase the characters of A Separation, constricting them in ways social, cultural, religious, familial, and emotional.
  25. Call Me by Your Name is a fairly straightforward coming-of-age story that's at its finest in moments when the relationships take on larger meanings than their literal context implies, and Luca Guadagnino finds evocative aesthetic expressions for them.
  26. 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.
  27. 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.

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