Slant Magazine's Scores

For 2,587 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Voyage to Italy (re-release)
Lowest review score: 0 The Victim
Score distribution:
2,587 movie reviews
  1. Mitra Farahani rescues the doc from becoming a talking-head fest by embracing her creative self as a character and exposing the travails of her own authorship process.
  2. The pleasure in watching the film becomes a linguistic one as Juliette Binoche and Kristen Stewart masterfully sharpen their words and hurl them at each other like projectiles out of a blowpipe.
  3. The third and final film in Ulrich Seidl's "Paradise" trilogy navigates a narrow space between tenderness and cruelty.
  4. Each of the six vignettes that make up this unusually energetic anthology pertains to the methods of calculated mass dehumanization that are (barely) hidden beneath the practices of social institutions.
    • 77 Metascore
    • 75 Critic Score
    Breillat's scripting of Maud as fatally distant from her family, willfully independent, but more believably abandoned, is haunting.
  5. Director Mahmoud Kaabour is Fatima's grandson, and she instantly seizes on--lightly, in her way--the guilt and panic that's inspired him to make this film.
    • Slant Magazine
    • 77 Metascore
    • 63 Critic Score
    Although we never really get to know He or Miao, despite following them around vérité-style, director Yung Chang expertly captures the rays of Western culture bouncing off them.
  6. Director David Gelb details, among other things, the painstaking process that goes into creating mouthwatering pieces of sushi.
  7. The film recalls its stylistic forbears at their best: flowing with whimsy, but never at the expense of the beating heart of its human (and animal) characters.
    • 77 Metascore
    • 88 Critic Score
    To Wong, love isn't something you can talk about; words are inadequate, empty, inevitably reductive. Love is something you see, sense, feel, and Chungking Express is one of Wong's purest evocations of its excitement and heartbreak.
  8. Beautiful, poetic, and hard-hitting without the use of excessive force and deeply layered with evolving and regional nuances of feminine experience
  9. For its general ludic obsession with all things generally thought of as disgusting, the German film Wetlands is stuck in the anal stage.
  10. Not only sets up the writer's life as representative of the transitions of early modern Jewish life, but posits his oeuvre as an ongoing chronicle of the shift from a vibrant, unified Yiddish culture to a fractured world-in-exile.
  11. This lovely film is ultimately an articulation of something at once simple and universal: the discontent of traveling through life with sad resignation.
  12. A delicate documentary about a way of life that's slowly disappearing, yet gives way to nothing new.
    • 77 Metascore
    • 63 Critic Score
    A visual pleasure, and refreshingly free of message or structure, but it leaves an aftertaste similar to that of an awkward party spent among intellectuals.
    • 77 Metascore
    • 63 Critic Score
    Kirby Dick's films don't go far enough in explaining how a culture of rape can pervade in vastly different institutions, but they're ruthless about holding them accountable.
  13. This is a study of a man who's hard to like, harder to dismiss, and impossible to pigeonhole.
    • 77 Metascore
    • 63 Critic Score
    The images, while beautiful, are sentimental, as if Kleber Mendonça Filho is trying to negotiate too much.
  14. By reducing its principals to stock figures in an extended chess game, it ends up providing steady, neatly staged thrills, but little else of substance.
  15. The film shrewdly opts not to proffer its own hypothesis about the true reasons behind the Gibson family buying Frédéric Bourdin's story.
    • 77 Metascore
    • 50 Critic Score
    One may feel dissatisfied by the 11th-hour turn toward lyrical fatalism, and mildly insulted by the presumptuous attitude it seems to choose as it sends us on our way.
  16. The film thrives on ambiguity, keeping all things blurry outside its main character's focused perspective, its myopia sustained by Luminița Gheorghiu's tough, quietly intense performance.
  17. Deceptively modest on nearly all accounts, Paolo and Vittorio Taviani's Caesar Must Die employs seemingly minor directorial contrivances to ruminate on a unique quarrel.
  18. As depicted by Jia Zhang-ke, the balance between the spoils and moral rot of murder are far preferable to the debasing rigors of tradition and hollow nationalism.
  19. The film's inquiry into the artistic method remains somewhat at the superficial level, but the directors do a fine job of emphasizing both the circumstances that lead to the music's creation and the satisfying result of the irrepressible sounds.
  20. The end results are mixed but nevertheless scintillating and provocative enough to be worth taking seriously.
  21. The film is made impetuously watchable and disarmingly emotional by the filmmakers' strong command of docudrama and nonfiction narrative style.
  22. The mixture of different techniques and varied views results in a rich, multi-faceted look at one of America's most misguided policy initiatives.
    • 77 Metascore
    • 75 Critic Score
    Slowly, the powerful message of heart and soul winning out over an impaired body and over-thinking mind develops into the core drama of this otherwise modest doc.

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