Slant Magazine's Scores

For 2,480 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 9.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 A Brighter Summer Day (1991)
Lowest review score: 0 Last Will and Embezzlement
Score distribution:
2,480 movie reviews
  1. The film may not put itself above the uninitiated, but director Mark Levinson oftentimes appears almost too eager to present his material with affectation.
  2. There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
    • 87 Metascore
    • 88 Critic Score
    If the film were to propose a mandate for animation, it would be what the medium's etymology has longed suggested: to make the inanimate full of life.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. The film is a testament to the power of video to document resistance to corrupt and abusive regimes, but it's also a witness to the limits of that power.
  8. In the film, Alexander Payne's overview of America is extraordinarily, multifariously profound.
  9. 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.
  10. The repetitive rhythms of Joaquim Pinto's daily routines provide the film with a feeling of serenity that stands in contrast to the man's underlying anxiety.
  11. Filmmakers Stephanie Spray and Pacho Velez insist that altered spectatorship, particularly patience and duration, is the foundation of cinematic edification.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. It's in the way the film refuses to characterize its central friendship solely on the grounds of common isolation that becomes its most endearing quality.
  18. An unnerving, all-archival account of Philadelphia citizens suddenly terrorized by the unchecked violence of rogue "law and order."
  19. Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
  20. Eleanor Burke and Ron Eyal's film is a tasteful, well-orchestrated drama that never reaches beyond its humble means.
  21. In the Mood For Love is ravishing beyond mortal words.
  22. Broomfield isn't so much dedicated to journalistic truth or social ethnography as he is displaying bodies and mindsets of individuals that complicate any sense of Manichean polemics, where good and evil must be reckoned with at a purely secular and corporeal level, particularly along the lines of class and gender.
  23. Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.
  24. 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.
  25. It's not easy to give a character study concerning mental illness the aspect of a psychological thriller without some notes of exploitation or trivialization creeping in, and Take Shelter makes a few missteps.

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