Slant Magazine's Scores

For 3,105 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 World's End
Lowest review score: 0 2 Jacks
Score distribution:
3105 movie reviews
  1. The lightning in the film’s bottle isn’t some generic feel-good humanism, but a complicated one, fighting for its own existence, sometimes angry, sometimes despondent.
  2. Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
  3. A zig-zagging, free-associational genre item that's mostly concerned with stretching the generally narrow tonal rules of what a thriller can be.
  4. 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.
  5. The cautious optimism with which it answers questions about rehabilitation and forgiveness is credible because the characters and setting feel so thoroughly authentic.
  6. 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.
  7. 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.
  8. 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.
  9. Chiemi Karasawa's documentary is remarkable for its candor, but it's a brutal honesty that Elaine Stritch herself gladly offers.
  10. It exists less as a meaningful extension of its world than as a fan-service deployment device.
  11. Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
  12. The film goes in for the idea of texture and tics and human behavior, but there's no conviction, and no real push for eccentricity.
  13. The near-surgical precision with which Yorgos Lanthimos approaches the most surreal of conceits turns out to be a double-edged sword.
  14. Offers exactly what its title promises, unveiling this secret milieu through thoroughly meticulous animation.
  15. It grows increasingly hopeless as it contrasts the alien paradise of the opening with the wastelands that resemble corporate dump sites.
  16. 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.
  17. 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.
    • 80 Metascore
    • 75 Critic Score
    Casino Royale is one of the good ones and not just for the way it wittily recontextualizes several series touchstones.
  18. 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.
  19. Miguel Gomes's formal talents, which include a flair for close-ups of elegantly smooth or weathered faces, transcend his soft spot for the didactic.
  20. 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.
  21. Bill Pohlad seems never to have met a metaphor he couldn't bludgeon into its most rudimentary and literal interpretation.
  22. Theeb insists on the importance of preserving cultural difference against the totalizing vision of racial and religious hegemony.
  23. Billy Ray unfurls the parallel time structure with the same flat, procedural monotony applied by Juan José Campanella to the original film.
  24. 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.

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