Slant Magazine's Scores

For 2,855 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 Museum Hours
Lowest review score: 0 Movie 43
Score distribution:
2,855 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Chiemi Karasawa's documentary is remarkable for its candor, but it's a brutal honesty that Elaine Stritch herself gladly offers.
  5. Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
  6. Offers exactly what its title promises, unveiling this secret milieu through thoroughly meticulous animation.
  7. It grows increasingly hopeless as it contrasts the alien paradise of the opening with the wastelands that resemble corporate dump sites.
  8. The poetic, referential succession of near-still images that opens the film so immaculately distills Melancholia's moody narrative and themes that it makes the two-hours-plus that follow seem impossibly redundant.
    • 80 Metascore
    • 75 Critic Score
    Lauren Greenfield's film evolves from an ode to entitled obliviousness to a more evenhanded character study, tracing the fault lines that develop within the Siegel family.
  9. Béla Tarr is the cinema's greatest crafter of total environments and in The Turin Horse, working in his most restricted physical setting since 1984's Almanac of Fall, he (along with co-director Ágnes Hranitzky) dials up one of his most vividly immersive milieus.
  10. Here is a film that isn't afraid to risk didacticism in order to put across its vision of the debilitating physical and psychological effects of colonialism.
    • 80 Metascore
    • 63 Critic Score
    As pleasant and effortless as Ramon Zürcher makes his formal persnicketiness and Akermanian aesthetic rigor seem, his film feels lightweight.
  11. True to its title, the film approaches death as both narrative endpoint and formal focus, its initial vivacious mischief giving way to a Manichean fable about the waning of the light.
  12. Bill Pohlad seems never to have met a metaphor he couldn't bludgeon into its most rudimentary and literal interpretation.
  13. I Wish has a tough time balancing the heartfelt with the saccharine and too often feels slight.
    • 80 Metascore
    • 75 Critic Score
    The film's structure as a character study helps to subtly underscore the flawed justifications of a privileged kid's thought patterns and unchallenged value system.
  14. It affects a general air of artistically inclined realism, but it's mostly concerned with building tension via a steady accumulation of flatly conceived misery.
    • 80 Metascore
    • 75 Critic Score
    Every bit as visceral an experience as Cave of Forgotten Dreams, and with a lead actor whose face radiates the same eternal quality as that of the late Klaus Kinski, The Mill and The Cross also feels a lot like live theater.
    • 80 Metascore
    • 100 Critic Score
    The doc positions The Shining as a comparably coiled, thematically overflowing microcosm--standing in for cinema, for history, for obsession, for postmodern theory buckling under the film's heft.
  15. The film provides welcome context for the semi-hysteria that recently took over the U.S. media in regard to Uganda's "Kill the Gays" bill.
  16. On the surface, Peter Strickland's film is an amusing black comedy that parodies the horror movie's continual status as the cultural black sheep of the cinematic landscape, but the filmmaker is most prominently concerned with painting a sonic portrait of alienation.
  17. A counterproductively "literary" film with no satisfying payoffs, Rutger Hauer's blind recluse notwithstanding.
  18. Albert Maysles's portrait of Iris Apfel gradually emerges with cathartic clarity without compromising her inherent mystery.
  19. A poignant sense of time's unyielding forward progress and a mood of deep adolescent sorrow aren't enough to overshadow the insufferable blankness of Goodbye First Love's navel-gazing protagonists.
  20. Sweetgrass achieves a borderline abstract splendor that's furthered by the directors' avoidance of delving deeply into its human subjects, whose backstories and general circumstances are only alluded to through fly-on-wall scraps.
    • 80 Metascore
    • 75 Critic Score
    Claude Lanzmann's film doesn't so much strive to elucidate the Shoah as to draw us into its infinite moral complexities.
  21. By taking a disturbing and sometimes conflicted look at the prejudices that led to the West Memphis Three's imprisonment, it asks murky questions about how people could get something so wrong for so long.
  22. Gastón Solnicki's mapping out of his family's narrative from within never feels exploitative or self-absorbed.

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