Slant Magazine's Scores

For 3,021 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 8.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Museum Hours
Lowest review score: 0 The Cup
Score distribution:
3,021 movie reviews
  1. 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.
  2. 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.
  3. Denis Villeneuve's film views life in the age of the modern-day drug war as an ever-crescendoing existential nightmare.
  4. No
    A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.
  5. 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.
  6. To dismiss it as simply an act of hipster appropriation is to cop out, because appropriation is the film's thematic meat.
  7. 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.
  8. 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.
  9. Aarón Fernández captures one of the most heartening elements of sex: that it doesn't always oblige our rules or expectations.
    • 81 Metascore
    • 63 Critic Score
    A nose-to-the-ground portrait of two believably aspirational protagonists and their constant hustle to make good on the movie's eponymous demand.
  10. The overall experience is entirely immersive, thanks not only to the filmmakers' handheld camera, but also to the illusory nature of the staging.
  11. It's a bit reductive in terms of a personal portrait, but this is a film that's not concerned with telling the story of a man, instead making him a representative symbol of a mostly bygone way of life, a reminder of both the fleeting nature of individual experience and the steady patterns of a broader human existence.
    • 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.
  12. Forcefully traditional and sentimental, Thunder Soul benefits most from the cinematic turn of the actual events it documents, which allowed the beloved teacher's life to end on a perfectly bittersweet note.
    • 81 Metascore
    • 100 Critic Score
    Not only a monstrous visual achievement, but one of the most uniquely humanistic animated features of all time.
    • 81 Metascore
    • 88 Critic Score
    Upstream Color is lush, rhythmic, and deeply sensual, a film of exceptional beauty.
  13. In the third act, the film devolves into an extremely unsettling series of sadistic tortures, the kind of stuff that would appeal largely to fans of Funny Games.
    • 81 Metascore
    • 63 Critic Score
    Unlike most war documentaries, which tend to only skim the surface of its gun-toting subjects' lives, photojournalist Danfung Dennis's Hell and Back Again isn't content to merely capture warriors in combat.
  14. A Simple Life may have one of the most accurate titles in all of cinema, as the film has a bracingly casual sense of day-to-day working-class life that recalls the films of Jean Renoir or, more recently, Olivier Assayas.
  15. Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
  16. A zig-zagging, free-associational genre item that's mostly concerned with stretching the generally narrow tonal rules of what a thriller can be.
  17. The dangers of filmmakers trying to replicate a golden era rather than embrace the present are part and parcel of Inherent Vice, but the ramifications are political as well.
  18. The cautious optimism with which it answers questions about rehabilitation and forgiveness is credible because the characters and setting feel so thoroughly authentic.
  19. At first glance, Tuesday, After Christmas seems, in both form and content, only a modestly ambitious endeavor. Yet the singular attention with which it carries out its aims-and the rigorous success it ultimately attains-is nonetheless unsparing, and bracing.
    • 81 Metascore
    • 100 Critic Score
    An ordinary drama embellished and in some sense infringed on by genre elements rather than the other way around.
  20. The director's clear-minded approach allows her subject's more challenging aesthetic-political mix to shine through, even if it's at the inevitable expense of her own filmmaking proclivities.
  21. Humor and sorrow are equally immediate emotions throughout, whether in the writer-director's traditionally structured setup-punchline scenes or his strange non sequiturs
    • 81 Metascore
    • 25 Critic Score
    When one stops to consider how irksomely on the nose so much of this is, the qualities which intend to most readily ingratiate the film with us begin to appear perceptibly disingenuous and false.

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