Slant Magazine's Scores

For 3,690 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 8.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Story of My Death
Lowest review score: 0 Girl Most Likely
Score distribution:
3690 movie reviews
  1. Filmmakers Stephanie Spray and Pacho Velez insist that altered spectatorship, particularly patience and duration, is the foundation of cinematic edification.
  2. 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.
  3. It puts the viewer inside Maidan, allowing them to draw their own conclusions about the ideas and agendas espoused by the movement's leaders and participants.
  4. 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.
  5. A pointed simplicity governs Michael Dudok de Wit's The Red Turtle, one that’s traditional of many survival tales.
  6. 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.
  7. Asghar Farhadi's film yields a tonal and emotional friction that's simultaneously tragic, transcendent, and comic.
  8. 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.
  9. The plaintive plain-spokenness of the interviewees, the way they matter-of-factly speak of atrocity, is transcendent and intensely haunting.
  10. 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.
  11. 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.
  12. The other reason why Hawks's film can't be approached as a pure sociological interrogation is that it's, quite visibly, a Hollywood production with certain inescapable commitments to entertainment convention. This isn't to downgrade the movie, though, as there's a reason why Hawks and other Old Hollywood filmmakers have become so revered.
  13. An unnerving, all-archival account of Philadelphia citizens suddenly terrorized by the unchecked violence of rogue "law and order."
  14. Benh Zeitlin's lived-in, almost abstract sense of social realism is partly what makes the film so refreshing and uniquely affecting.
  15. Cristian Mungiu's film is more than just a cry of despair toward the hopelessness of life in modern-day Romania.
  16. Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.
  17. Amy
    For the most part, the documentary succeeds in conveying a galvanizing sense of what made Winehouse so immediately engaging.
  18. The Treasure is no thriller, but there are moments here that inculcate the stakes with prisoner's-dilemma paranoia.
  19. Eleanor Burke and Ron Eyal's film is a tasteful, well-orchestrated drama that never reaches beyond its humble means.
  20. Its triumph is primarily a matter of style, a visionary revelation every bit as expressionistic as its main character's electric sense of shade.
  21. Girlhood is so keyed to the minutiae of its teenage protagonists' lives, it's as if the film can't stop itself from behaving like they do.
  22. In the Mood For Love is ravishing beyond mortal words.
  23. 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.
  24. The film provocatively has audiences see the world's current ecological concerns in a different and unexpected light.
  25. 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.
  26. 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.
  27. Hero is elliptical, primal, radically disjointed, and female-empowering. Everything a wu xia should be…and then som

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