Slant Magazine's Scores

For 3,023 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 In the Family
Lowest review score: 0 Girl Most Likely
Score distribution:
3,023 movie reviews
  1. 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.
  2. The allure of the road not taken and Saoirse Ronan's performance exert a powerful pull.
  3. A work of astounding sensitivity and precision, it argues for emotional honesty as a moral and psychic imperative.
  4. Asghar Farhadi's sensibility embodies a combination of empathy and paranoia that's striking considering that the latter is normally driven by self-absorption.
  5. Level Five pictorializes the cruel moment when curiosity encounters tragedy, and the all-too-human abandonment of interest that can follows.
  6. 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.
  7. 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.
  8. Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
  9. J.C. Chandor creates an austere snapshot of human struggle, ingenuity, and perseverance, one that's predicated on Robert Redford's fantastic performance.
  10. Among the film's many revelations is the level of self-aware humility Brando exudes while talking about his life and creative process.
    • 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.
  11. 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.
  12. The film may not put itself above the uninitiated, but director Mark Levinson oftentimes appears almost too eager to present his material with affectation.
  13. 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.
  14. 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.
  15. 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.
  16. Peter Strickland charges full-tilt into the objectifying whims of his fantasies in order to somehow reach the other end of perception, which acknowledges the ultimate empathetic limitations of said fantasies.
  17. True to its title, Marielle Heller's adaptation of Phoebe Gloeckner's semi-autobiographical novel has the loosely structured, unfiltered feel of a young person's diary.
  18. It comes down on the essential hollowness of traditional gender roles like the avalanche that proves to be its inciting event.
  19. 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.
  20. In the film, Alexander Payne's overview of America is extraordinarily, multifariously profound.
  21. 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.
  22. 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.
  23. For American viewers who don't know, the doc will be a worthy footnote to a long bout of deliberate cultural amnesia, but it's too telling that the Vietnamese remain in the background.
  24. 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.
  25. Filmmakers Stephanie Spray and Pacho Velez insist that altered spectatorship, particularly patience and duration, is the foundation of cinematic edification.
  26. 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.
  27. It confronts the hard realities of a world in which few make it to maturity without their share of scars, and no one makes it out of adulthood alive.

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