Slant Magazine's Scores

For 7,772 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:
7772 movie reviews
  1. It's not easy to give a character study concerning mental illness the aspect of a psychological thriller without some notes of exploitation or trivialization creeping in, and Take Shelter makes a few missteps.
  2. Asghar Farhadi's film yields a tonal and emotional friction that's simultaneously tragic, transcendent, and comic.
  3. In the absence of any overt commentary, the film’s more open-ended choices in editing and music take on added significance.
  4. Mati Diop’s captivating, fabulistic documentary Dahomey confronts the reality of how modernity has been shaped by the West’s theft of cultural heritage.
  5. Throughout Get Out, Jordan Peele incisively probes the connection between liberal racism and good old-fashioned white supremacy.
  6. Steven Spielberg's West Side Story is at its best when it zooms in and settles down into character study.
  7. Altman’s disgruntled comedy California Split, aside from its typically busy soundtrack (it was the first movie Altman used eight-channel audio to capture all the dialogue), seems a relatively straightforward buddy film...it’s also an anti-buddy parable in which George Segal and Elliott Gould’s homosocial behavior is equated unflatteringly against their obsessive gambling addictions.
  8. Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.
  9. Amy
    For the most part, the documentary succeeds in conveying a galvanizing sense of what made Winehouse so immediately engaging.
  10. Igor Bezinović plays up the farcical side of history in Fiume o Morte!, his innovative docudrama retelling of Italian fascist poet Gabriele D’Annunzio’s short-lived occupation of Rijeka, Croatia, in 1920.
  11. Money corrupts, Cristina Gallego and Ciro Guerra’s would say. Easy money corrupts completely.
  12. If Kurosawa is less interested in narrative dynamics, it’s because he’s focused on an acute understanding of societally and sociologically conditioned behavior.
  13. It’s a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China.
  14. The Treasure is no thriller, but there are moments here that inculcate the stakes with prisoner's-dilemma paranoia.
  15. Eleanor Burke and Ron Eyal's film is a tasteful, well-orchestrated drama that never reaches beyond its humble means.
  16. It manifests a mounting sense of disillusionment, suggesting that the rodeo lifestyle many characters so unreservedly romanticize often leads to physical and psychological ruin.
  17. Jonas Bak’s semi-autobiographical film is a gentle depiction of modern alienation.
    • 85 Metascore
    • 88 Critic Score
    Where once Victor Erice's films defined the unknown as a life not yet experienced, Close Your Eyes interprets it as a life already lived, slowly dissolving into memory.
    • 85 Metascore
    • 75 Critic Score
    The film is at its best when it fashions itself as a kind of ouroboros where the future and the past, death and new love, circle back on one another.
    • 85 Metascore
    • 88 Critic Score
    Throughout, we're invited to chuckle at the ironies of Kayla's hobbies and activities, but underlying such scenes is a strain of eeriness, as if the film were offering up a post-human spin on Pretty in Pink.
  18. At its best, the film suggests some kind of hellish Nike commercial, where “just do it” becomes less an inspirational motto than a grueling portent of doom.
  19. Girlhood is so keyed to the minutiae of its teenage protagonists' lives, it's as if the film can't stop itself from behaving like they do.
  20. Kiki presents a world of fantasy in such a genteel, unforced manner that it only seems ordinary and mundane. As such, it feels like a touchstone for all of Miyazaki’s later, even greater works of cartoon storytelling art.
  21. The film revels in a hushed and lucid expressionist naturalism that’s reminiscent of Andrei Tarkovsky’s Stalker.
    • 85 Metascore
    • 75 Critic Score
    Pangs of déjà vu might strike while watching El Dorado, as it’s a thinly-veiled remake of an earlier John Wayne film directed by Howard Hawks and co-written by Leigh Brackett for Warner Bros., 1959’s Rio Bravo. Though the stories are similar, El Dorado feels sharper, bolstered by Harold Rosson’s brilliant photography with scenes seemingly painted on celluloid.
  22. Just as the film’s gorgeous backdrops suggest characters trapped in suspended animation, the many colorful balls of light that frequently circle their heads hauntingly convey the filmmakers’ idea of fate and love locked in a cosmic struggle.
  23. Broomfield isn't so much dedicated to journalistic truth or social ethnography as he is displaying bodies and mindsets of individuals that complicate any sense of Manichean polemics, where good and evil must be reckoned with at a purely secular and corporeal level, particularly along the lines of class and gender.
  24. This legendary tale of a motorcycle odyssey gone wrong remains timeless for its diagnosing of the early stages of a social ennui that has now fully bloomed.
    • 85 Metascore
    • 75 Critic Score
    The Quiet Man remains one of the purest distillations of this charismatic filmmaker’s diverse artistic nature.
  25. Yes
    Nadav Lapid’s film locates a dire spiritual crisis facing the nation of his birth.

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