Slant Magazine's Scores

For 2,576 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 9.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Room 237
Lowest review score: 0 10 Rules for Sleeping Around
Score distribution:
2,576 movie reviews
  1. Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.
  2. 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.
  3. 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.
  4. 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.
  5. Farhadi navigates his complicated narrative thicket with an apparent ease that confirms yet again that he's an amazing talent, but here he isn't able to blend the brushstrokes as he has in prior films.
  6. The Tree of Life's fetching images are like glowing shards of glass, and together they form a grandiose mirror that reflects Malick's impassioned philosophical outlook. It's unquestionably this great filmmaker's most personal work, a revelation of how he came to be, why he creates, and where he feels he's going.
    • 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.
  7. Sensitively performed and laced with some forceful quotidian grit, the film evades the larger questions behind a scandalous shooting death.
  8. This is, to put it mildly, a lot of information for one documentary, which inevitably devolves to resemble not so much an anthology as a slideshow of genocide's greatest hits.
  9. Léos Carax's maddening, self-satisfied, though never smug, game of spot-the-reference seems intended only for a particular type of cinephile.
  10. Chaitanya Tamhane's grand canvas is Indian society as represented by its legal system, and what it reveals is none too flattering.
  11. 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.
  12. 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.
  13. The film preaches resolutely to the choir, and cinephiles in sync with the film's politics may still blanch at how snugly their interests are courted.
    • 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.
  14. 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.
  15. 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.
  16. Jem Cohen's film finds its most salient tension in the fraught relationship between known and unknown objects.
    • 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.
  17. Conventional but never sanctimonious, it balances out its familiar recovery angle with a healthy measure of sardonic wit.
  18. It evolves into an intimate reverie on family and aesthetics, while remaining sporadically attuned to the reflexive and ethical dimensions of ethnographic discovery.
  19. 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.
  20. Tsai isn't making a social-problem film here, and his critique of patriarchal control is secondary to his portrait of unbearable psychic conditions.
  21. The film has an atmosphere of endless experimentation, which compliments the constant revision the subjects apply to their lives in the wake of their economic insecurity.
  22. 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.
  23. The Frankensteinian rebellion of orcas against their corporate captors turns this doc into a sort of showbiz horror film.
    • 83 Metascore
    • 75 Critic Score
    The decentralized narrative benefits from the film's original conception as a miniseries, with plenty of time to draw us into the morass that was the communist state.
  24. Ethan Hawke's concentration on Seymour Bernstein isn't a betrayal of his own ego massaging, but rather an attempt to have a genuine soul-bearing conversation.
  25. 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.
  26. 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.

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