Slant Magazine's Scores

For 6,559 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Score distribution:
6559 movie reviews
  1. By the end of My Imaginary Country, Guzmán has still not moved past the trauma of history. Nor, he suggests, has Chile. Not yet. But he does leave open the possibility of a future not beholden to that trauma and a nation that might now be able to write a new history for itself.
  2. As dark as things get, the film never abandons its sly sense of humor.
  3. The film is consistently compelling visually and aurally, but neither Todd Field nor Cate Blanchett seem quite decided on whether Tár’s comeuppance is a grand tragedy or a cosmic joke.
  4. Jamila C. Gray lends credibility to Brianna Jackson, who happens to be searching for just that. She plays the damn role.
  5. Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia, or its Soviet past festering just beneath the surface.
  6. Few films feel as excitingly jacked in to our current social climate as Daniel Goldhaber’s How to Blow Up a Pipeline.
  7. In simplistic and self-congratulatory fashion, the film renders its main character as a sort of feminist crusader who undermines the sexist traditions of her time.
  8. For a while, the work on the part of the performers is nuanced enough to distract us from the film’s implausibilities.
  9. Throughout, the film’s characters impressively hold their own when forced to defend their lives, with director John Hyams catching every incident of bone-crunching mayhem as if he were shooting a martial arts film.
  10. Living has the feel of a film afraid to fully step out of its predecessor’s giant shadow.
  11. The warm, rueful, and sometimes angry All the Beauty and the Bloodshed accomplishes the goal of any documentary worthy of its genre by shining an insightful light onto what informs an artist’s vision.
  12. Don’t Worry Darling has the swing-for-the-fences ambition that should have at least made it a noble and compelling folly, but its repetitiveness frustratingly undercuts its grandiosity.
  13. The film is a historical action epic that, for all the novelty of its setting and subservience to contemporary attitudes, traffics in a lot of cliché narrative beats and ideologies.
  14. Henry Selick’s flair for phantasmagorical sights is on full display, though Wendell & Wild’s excessively CGI-enhanced look is a far cry from the grounded tactility of much of his prior work.
  15. Agnieszka Smoczyńska’s film is unwilling to really sit with the peculiarity of its protagonists’ unique psyches.
  16. Pearl is ultimately an empty exercise in style masquerading as a character study, and for as fantastic as Mia Goth is, her performance mostly succeeds at making Ti West’s homages just a little bit easier to stomach.
  17. In Sam Mendes’s film, the power of the movies comes off feeling disappointingly like an afterthought to the script’s more romantic and socially oriented concerns.
  18. No Bears generally spends less time finding aesthetic articulations of its themes than it does building out an increasingly convoluted plot to support them.
  19. With The Whale, Darren Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.
  20. That The African Desperate is a send-up of art school is beyond doubt, but what’s less clear is just how far the satire goes.
  21. The climax has a certain primally cathartic power, but it doesn’t quite dispel the air of self-satisfaction that envelops the script.
  22. For better and worse, writer-director Sarah Polley’s adaptation of Women Talking is most noteworthy for its imagery.
  23. The film’s storytelling is deceptively straightforward, rooted in realistic dialogue and Mia Hansen-Løve’s light touch as a visual stylist.
  24. The film is too invested in treacly cinematic optimism for its character dynamics to feel sketched out beyond their basic narrative function.
  25. Writer-director Marie Kreutzer’s boldly restive biopic imagines Empress Elisabeth of Austria as a deeply restless soul chafing against the social limitations of her day.
    • 73 Metascore
    • 75 Critic Score
    The film is honest and poignant in its kaleidoscopic refractions of the frustration inherent in a process that’s only just beginning.
  26. Throughout the film, one often feels the plot machinations working against Park Chan-wook’s poetry, though in a few cases poetry wins out.
  27. Deftly constructed and utterly heartbreaking, Aftersun announces Charlotte Wells as an eminent storyteller of prodigious powers.
  28. Writer-director Ruben Östlund’s pessimism ultimately leads the film toward a self-negating dead end.
  29. Weird accordingly (or is it accordion-gly?) takes everything to new heights of glorious ridiculousness.

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