Slant Magazine's Scores

For 2,206 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 9.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Computer Chess
Lowest review score: 0 Beautiful Creatures
Score distribution:
2,206 movie reviews
    • 89 Metascore
    • 38 Critic Score
    The Artist neatly sidesteps this unsolvable dilemma by ignoring everything that's fascinating and memorable about the era, focusing instead on a patchwork of general knowledge, so eroded of inconvenient facts that it doesn't even qualify as a roman à clef.
  1. Its horrors go beyond any single raggedy phantom, reaching back to the primordial fear of death and loss: of a child, of a loved one, of one's own sense of self.
  2. Abdellatif Kechiche reveals through his sense of composition, and collaboration with his remarkable actresses, a sensitivity to emotional nuance that's striking.
  3. As always, Wes Anderson places his trademark precision in direct confrontation with the chaos and confusion menacing his beloved characters.
    • 88 Metascore
    • 100 Critic Score
    The film's vision of masculine self-sufficiency is built around--and on, via Australia's own bloody colonial history--an elemental violence.
    • 87 Metascore
    • 88 Critic Score
    It can't be overstated just how Nothing But a Man is militantly tone-deaf to the Hollywood muzak of race relations.
  4. Paramount to molding a narrative of war and totalitarianism, however, is the inventive aesthetic in which Panh frames his memoir: a hypnotic hybrid of bleak archival footage, thoughtful voiceover, tone-dictating music, and—most significantly—homemade clay-figurine dioramas.
  5. 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.
  6. There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
  7. Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
  8. J.C. Chandor creates an austere snapshot of human struggle, ingenuity, and perseverance, one that's predicated on Robert Redford's fantastic performance.
    • 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.
    • 87 Metascore
    • 88 Critic Score
    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.
  9. Lukas Moodysson's film allows its trio of girls to express themselves through gender, certainly, but not undermine their desire to be heard as artists first.
  10. The film may not put itself above the uninitiated, but director Mark Levinson oftentimes appears almost too eager to present his material with affectation.
  11. 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.
  12. True to Hollywood's tireless efforts to fit square-peg material into roundish genre niches, this wavering, intermittently smart story of daring to think differently flattens its narrative into formula.
    • 87 Metascore
    • 88 Critic Score
    Brief Encounters is great entertainment.
  13. 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.
  14. Filmmakers Stephanie Spray and Pacho Velez insist that altered spectatorship, particularly patience and duration, is the foundation of cinematic edification.
  15. In the film, Alexander Payne's overview of America is extraordinarily, multifariously profound.
  16. We're simply presented a person in trouble, and we're allowed to recognize his problems as extreme embodiments of universal issues of terror, confusion, and loneliness.
  17. 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.
    • 86 Metascore
    • 75 Critic Score
    Most compelling in Christian Petzold's latest is the way the filmmaker adeptly conducts his tides of Cold War paranoia.
  18. Paolo Sorrentino's film is really just a huge turn-on that has the bad manners to go sour, succumbing to its own self-delusions of moral/political grandeur.
  19. The film is a singularly huge, relentless, all-encompassing set piece that mutates and spasms with terrifying lack of foresight. It's all business, business, business.
  20. Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
    • 86 Metascore
    • 50 Critic Score
    The Master is Paul Thomas Anderson with the edges sanded off, the best bits shorn down to nubs.
  21. The film exudes a sense of fleetingness; however static these lives may be, Tian's narrative perfectly evokes a changing season.
    • 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.

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