Slant Magazine's Scores

For 5,706 reviews, this publication has graded:
  • 34% higher than the average critic
  • 3% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 7.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Golden Exits
Lowest review score: 0 One Fall
Score distribution:
5706 movie reviews
  1. The film uses endangered press freedom in the Philippines to illustrate the threat posed to liberal democracy by weaponized social media.
  2. Redolent of Claude Lanzmann’s approach, Mehrdad Oskouei strips his images to their barest bones as his subjects openly speak about their traumas, as if trying to avoid aestheticizing their pain.
  3. In lieu of pluming the emotional states of the characters, the film resorts to a whimsical, otherworldly fantasy element as an easy resolution.
  4. The film is strikingly fixated on exploring loss and pain on an intimate and personal scale.
    • 56 Metascore
    • 75 Critic Score
    Whether or not the 91-year-old Alejandro Jodorowsky makes another film, Psychomagic could easily stand as a fitting encapsulation of the themes of suffering and transcendence that have run throughout his work.
    • 84 Metascore
    • 75 Critic Score
    Out of a dazzling fusion of the hottest trends of American R&B and Afrobeat, this visual album proposes a pan-African vision of legacy, abundance, and unity, making it Beyoncé’s most wide-reaching and ambitious effort yet.
  5. The film is almost sadistically driven to turn a woman’s trip down memory lane into fodder for cringe humor.
  6. Ciro Guerra never quite finds an imagistic equivalent to the novel’s apocalyptic mood and subtly hallucinogenic atmosphere.
  7. Perhaps as a result of her attempting to avoid all matter of clichés, not just of genre, Amy Seimetz revels in vagueness.
  8. Throughout, the film’s characters exhibit little life outside of their moments of tragedy and symbolic connections.
  9. The film justly draws attention to the perpetual work that must go into preserving democratic institutions.
  10. Kôji Fukada adores stray textures that stick in the proverbial throat and free-associatively affirm his characters’ rootlessness.
  11. Marjane Satrapi’s film could have benefited from the tangy humor and cynicism of her graphic novels.
  12. The film never feels as satisfying or as haunting as its bow-tying epilogue strives for.
  13. The script doesn’t contain many lines that ring true, and a few clang wildly off-key.
  14. Dave Franco has a mighty command of silence as a measurement of emotional aftershock.
  15. Václav Marhoul’s film is at its most magnificent when it lingers on the poetry of its images.
  16. Filmmaker Cara Jones offers a poignant testament to the baggage and insecurities hounding her own life.
  17. The film’s unreflective earnestness is haunting in all the wrong ways.
  18. It’s in certain characters’ trajectories that the Ross brothers locate the tragic soul of the bar.
  19. The film heralds the arrival a bold and formidable voice in horror cinema.
  20. With no vividly drawn humans on display, the action feels like rootless war play.
  21. The character drama becomes afterthought as it’s superseded by action.
  22. Though it smartly prioritizes the bond of relationships over action, the film is in the end only somewhat convincing on both counts.
  23. The film is a kaleidoscopic portrait of a world where emotions are accessed and revealed primarily through digital intermediaries.
  24. Henri-Georges Clouzot’s The Wages of Fear now seems much less like Salt of the Earth-as-a-potboiler and a lot more like the spiritual godfather to every testosterone-fueled thrill ride since.
  25. The film smuggles some surprisingly bleak existential questioning inside a brightly comedic vehicle.
    • 90 Metascore
    • 88 Critic Score
    The show offers testimony to the power of communal storytelling, just as mighty on screen as on stage.
  26. We are never quite sure of the extent to which situations and dialogues have been scripted and, as such, it’s as though Herzog were more witness than author, more passerby than gawker, simply registering Japan being Japan.
  27. The film presents its scattershot cop-movie tropes in earnest, as if, like hurricanes, they were natural, unavoidable phenomena.

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