Slant Magazine's Scores

For 2,933 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 8.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 The Nine Muses
Lowest review score: 0 Rites of Spring
Score distribution:
2,933 movie reviews
    • 82 Metascore
    • 88 Critic Score
    A marvelously elastic storyteller, a dry wit, and a Rivettean anti-determinist, the Chilean auteur Raúl Ruiz is fascinated by narratives that dilate from within, images seemingly full of secret passageways, and fabulists who collect tales like toys.
  1. It's as if Carlos Saura were calling the bluff of spectacle-oriented narrative cinema that necessitates excusing its excesses with characters and plotting.
  2. The film's 90 minutes are a disorienting cyclone of destructive incidents and propulsive energy.
  3. Ira Sachs's push for heartrending poetry makes it clear that the film is putting too fine a gloss on the acute pains of one small tragedy.
  4. Coming Home is a film in which everyone's dreams are irrevocably broken, the pieces too small to grasp, let alone pick up.
  5. Its utter indulgence in esoterica paradoxically leaves it most vulnerable to the beating heart of this great artist of self-therapy.
  6. Pablo Berger digs for emotional intensity in his gothic retelling of Snow White and only uncovers layers of gloss.
  7. Nuri Bilge Ceylan has to be the least kinetic of working filmmakers - and not simply in the sense of static camerawork or lack of narrative momentum.
  8. Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
  9. Every substrata of music geekdom deserves a period piece as intimate as Eden, Mia Hansen-Løve's swan song for the golden era of French house music.
  10. Frederick Wiseman's At Berkeley isn't only a study of the contemporary American university, but, like all of the filmmaker's best documentaries, a wide-ranging inquiry into the larger institutions and contradictions that define life in the United States.
  11. It doesn't play like reality, but like boilerplate filmic fantasy, and its novel setting and inception struggles seem positioned as a beard--or veil, if you will--to mask its mediocrity.
  12. Assembled from short, naturalistic shots of people at work, the documentary becomes a bittersweet testament to labor and a damning representation of a vicious cycle, its images speaking entirely for themselves.
  13. This is a film about the invisible things passed down from generation to generation, that nasty inheritance that cages us into patterns and puzzles we try to solve in someone else's name.
  14. The literalizing of Ivan Locke's hidden self and his inability to master it ultimately exposes the film as the squarest kind of theater: drama therapy.
  15. It has generous lashings of Aardman Animations' trademark warmth, visual inventiveness, and satisfying Claymation tactility.
  16. Of Bennett Miller's many directorial feats, his canniest is his depiction of the precariousness of bonds, and how those bonds can shift, drastically yet almost imperceptibly.
  17. One of the most distinct pleasures of Beginners is the way it puts together fragments of someone's life-presumably the filmmaker's, although little does it matter-with humility, and without vying for some complete whole.
  18. A ticking stopwatch hangs over Weekend that amplifies the intensity of every conversation, every fight, every drink, every copulation. In other words, it's a device.
  19. In its visionary dream and flashback sequences, the film becomes a comment on the rapidly diminished state of traditional animation.
    • 81 Metascore
    • 100 Critic Score
    Leviathan is a titanic achievement, a visceral overload whose impact registers immediately and with great force.
  20. Denis Villeneuve's film views life in the age of the modern-day drug war as an ever-crescendoing existential nightmare.
  21. No
    A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.
  22. Ursula Meier's film is sustained by a sturdy emotional engine and some intrepidly thoughtful characterization.
    • 81 Metascore
    • 63 Critic Score
    While the rush toward a conventional climax is confusing, and more than a little disappointing, there's an undeniable pleasure that emerges in seeing Tarantino juggle the dynamite of his ideas, even when they prematurely pop off in his face.
  23. To dismiss it as simply an act of hipster appropriation is to cop out, because appropriation is the film's thematic meat.
    • 81 Metascore
    • 88 Critic Score
    Bond's latest is a remarkable high watermark for the series: at once solemn and deeply funny, sexy and sad, self-conscious without all the rib-bruising elbowing.
  24. The next step in Jafar Panahi's personal cinema of captivity, a fully fictionalized, wildly bewildering work which imagines a man at war with his own creative impulse.
  25. It confirms the Roy Andersson universe as one of near-fossilized similitude, in which any effort or movement is disruptive, revealing new cracks in the set illusion of order.
  26. Aarón Fernández captures one of the most heartening elements of sex: that it doesn't always oblige our rules or expectations.

Top Trailers