Slant Magazine's Scores

For 1,978 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 9.2 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 Cold Fish
Score distribution:
1,978 movie reviews
    • 85 Metascore
    • 100 Critic Score
    The Long Day Closes posits its pubescent protagonist as a tiny camera absorbing and transforming the reality all around him.
    • 84 Metascore
    • 75 Critic Score
    Documents emotionally charged interactions between patients and hospital staff without any signs that the subjects are being made to feel self-conscious or that they're behavior is being affected.
  1. Léos Carax's maddening, self-satisfied, though never smug, game of spot-the-reference seems intended only for a particular type of cinephile.
  2. Although the film remains continually fanciful, it always reminds us of the stakes in which precocious childhood rubs up against the possibility of a childhood denied altogether.
  3. Though ostensibly a character study, it's nevertheless characterized by the vaguely moralizing tone of an issue film, one whose candor in the face of brutality seems calculated for maximum liberal appeal.
    • 84 Metascore
    • 88 Critic Score
    The evocation of things ending suffuses the film with melancholy, as Anders increasingly becomes an observant rather than a participant in his own life.
    • 84 Metascore
    • 88 Critic Score
    As in the very best Anthony Mann and John Ford westerns, Looper at once understands the visual power of violence and is deeply critical of it.
  4. A blistering portrait of rebellion against social discord, marginalization and oppression, and a call to arms for true democratic ideals of dignity, justice, and fairness.
    • 84 Metascore
    • 88 Critic Score
    In a development that seemed to begin in earnest with "Sideways," a large part of The Descendents seems to operate on a non-narrative level.
  5. Conventional but never sanctimonious, it balances out its familiar recovery angle with a healthy measure of sardonic wit.
    • 83 Metascore
    • 63 Critic Score
    Although far from the worst offender in Disney's canon, The Lion King is nevertheless host to many of the less savory qualities common to the studio's output.
  6. Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects.
    • 83 Metascore
    • 75 Critic Score
    The Frankensteinian rebellion of orcas against their corporate captors turns this doc into a sort of showbiz horror film.
  7. There's great potential for the kind of issues that are taken on, but nothing is resolved, and the biggest questions, of guilt and shame, the gulf of understanding between the first world and the third, remain unengaged.
  8. The documentary is committed not to some pseudo-factual documentary tradition, but to a more engaging realist poesis.
  9. To drive home the pathos of Nim's mistreatment, James Marsh frequently makes questionable use of the creature's apparent similarity to human beings, trading complex analysis for easy sentiment.
  10. I Killed My Mother is a film best heard than seen, as the earnest, nimble scrubbiness of Dolan's screenplay is ill-served by his conceited visuals, an aesthetic mode that feels insecurely borrowed from perfume commercials and the work of Jean-Luc Godard and Wong Kar-Wai.
  11. Even if Hayao Miyazaki's career is complete, a work like this serves to remind us of the shining beacons he's left behind him, the testaments to pursuing beauty in the face of so much ugliness, themselves lasting reminders of the quiet rewards of determination.
  12. This joyous documentary leaves us wanting to immediately seek out the incredible, sometimes unfamiliar music we've just heard.
    • 83 Metascore
    • 50 Critic Score
    Go after Pina and you're going to have to go through a mob of modern-dance zealots first.
    • 83 Metascore
    • 75 Critic Score
    Scorsese's affection for cinema is, of course, no surprise, and Hugo doesn't shy away from stumping for the cause of his Film Foundation; which isn't to say it's a vanity project, at least not any more than any film with a budget in the nine figures is.
    • 83 Metascore
    • 63 Critic Score
    It works too hard to keep matters on an even, we're-all-more-alike-than-different keel, which is just one part of its chief problem of forcefully conveying information and intent.
    • 83 Metascore
    • 75 Critic Score
    With its compelling and original approach to its romance narrative, coupled with Paulina García's nuanced and intuitive performance, the film delicately balances an entire octave of emotions.
  13. The geometry of human relationships is the main theme of Hong Sang-soo's The Day He Arrives.
    • 83 Metascore
    • 75 Critic Score
    The ear for language is paired with an eye for the landscape, and the film finds beauty even in such a seemingly dreary, economically depressed community.
  14. The series is both a testimonial to the vagaries of chance and an endlessly cyclical study into the implications of being studied.
  15. Accusation is the rhetoric of outrage, and Arnon Goldfinger can't bring himself to experience even conservative anger, regardless of its appropriateness.
  16. Funny, moving, honest, and occasionally inspiring, but as a portrait of a talent emerging from the shadow of a more public talent, the scale of the shadow is curiously omitted.
  17. A serviceable primer on the digital-celluloid divide in commercial cinema, if a bit unwieldy in scope and in danger of being made obsolete by the next version of the RED camera.
    • 82 Metascore
    • 88 Critic Score
    The filmmakers use a wide range of cinematic techniques to convey the tenuous environment in which their subjects find themselves.

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