Slant Magazine's Scores

For 3,100 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Jafar Panahi's Taxi
Lowest review score: 0 7 Minutes
Score distribution:
3100 movie reviews
    • 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.
  1. It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
  2. Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis.
  3. The film's highpoint is one of the most remarkably moving sex scenes in all of American cinema, and the irony of it involving bland puppets is hardly lost on Kaufman and Johnson.
    • 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 allure of the road not taken and Saoirse Ronan's performance exert a powerful pull.
  6. Asghar Farhadi's sensibility embodies a combination of empathy and paranoia that's striking considering that the latter is normally driven by self-absorption.
  7. Level Five pictorializes the cruel moment when curiosity encounters tragedy, and the all-too-human abandonment of interest that can follows.
  8. 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.
  9. 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.
  10. 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.
  11. Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
  12. J.C. Chandor creates an austere snapshot of human struggle, ingenuity, and perseverance, one that's predicated on Robert Redford's fantastic performance.
  13. 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.
  14. 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.
  15. The film may not put itself above the uninitiated, but director Mark Levinson oftentimes appears almost too eager to present his material with affectation.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. It comes down on the essential hollowness of traditional gender roles like the avalanche that proves to be its inciting event.
  21. 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.
  22. The film, never sensational or saccharine, is a tough but tender tribute to the creative power of maternal love.
  23. In the film, Alexander Payne's overview of America is extraordinarily, multifariously profound.
  24. 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.
  25. 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.

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