Slant Magazine's Scores

For 7,775 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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Mulholland Dr.
Lowest review score: 0 Jojo Rabbit
Score distribution:
7775 movie reviews
  1. John Wick: Chapter 2 remarkably balances its predecessor’s spartan characterizations and plotting with a significant expansion of scale.
  2. A Quiet Passion's accomplishment is in fleshing out the stark context behind Emily Dickinson's ethereal words.
  3. Asghar Farhadi's 2006 film interrogates the tensions between tactility and vision in complex ways.
  4. Eiichi Yamamoto's cult anime strikes a perfect balance between midnight-movie enchantment and arthouse sophistication.
  5. The film enables us to feel the emotional weight of a posthumous letter precisely because we can only imagine its contents.
  6. The film communicates a sporadic sense of violation—of pastiche unpredictably giving way to a raw and primordially intimate emotional realm.
  7. Given its nearly episodic structure, formal choices, and similar thematic inquiries, Sworn Virgin suggests an unofficial remake of Vivre Sa Vie.
  8. Like the work it illuminates, the doc feels formally impeccable yet utterly unstaged, a vivid distillation of a distinct and precious life.
  9. Decolonization in Black Girl isn't only a myth, but also a myth that actually strengthens the consumerist caste systems.
    • 85 Metascore
    • 88 Critic Score
    Bi Gan's film is a soulful depiction of China's increasingly rapid pace of cultural and economic transformation.
  10. Roberto Minervini's documentary is as quintessentially American a text as one could hope for in today's divided union.
  11. Aquarius is a critique of a daydream that has the imaginative daring to live that very dream anyway.
  12. The film explores the extent to which Olivier Assayas’s characters have always found, and lost, their identities through the aid of their surroundings.
  13. By its end, Maren Ade's Toni Erdmann is a work of laser-guided social critique and a comedy.
  14. Pablo Larraín has captured Pablo Neruda in all of his pomposity, pretense, courage, and undeniable genius.
  15. Na Hong-jin's The Wailing is a work of thriller maximal-ism, a rare case of more actually being more rather than less.
  16. Director Sean Ellis's film offers a potent examination of the moral rectitude of resistance.
  17. The opaque ethics of The Chaser elide the reductive nature of binary pairs, focusing instead on the far more piquant complexity of human behavior.
  18. Wang Bing intends to give back to the inmates the opportunity for individual expression that society has robbed them of.
  19. The film creates a deeply rooted sense of realism that contrasts the austere, surreal illustrations.
  20. The film has an artisanal intensity that prevents it from turning into a smug and predictable exercise in political revision.
  21. Demon offers a tidal wave of unrelieved longing and regret, with a devilish streak of absurdism.
  22. As with Selma, filmmaker Ava DuVernay has fashioned a work of pummeling and clear-eyed intelligence.
  23. A real yet illusory world is evoked so seamlessly that it also feels just one step away from pure cinematic fiction.
  24. Private Property abounds in inventive low-budget filmmaking while stress-testing a pulpy, dime-store premise.
    • 72 Metascore
    • 88 Critic Score
    Much more than a punk artifact, Smithereens is a landmark that showcases how the urge of self-creation and the seduction of reveling in self-destruction dance side by side.
  25. The Lost City of Z links every weathered look that Percy Fawcett throws to the heart of his spiritual yearning.
  26. The film unapologetically warns us at every turn that fashion is nothing but a business, fueled by naiveté and rape.
  27. André Téchiné does justice to the closeness between repulsion and desire, difference and sameness, heterosexuality and homosexuality.
  28. Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.

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