Slant Magazine's Scores

For 7,776 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:
7776 movie reviews
  1. Compared to your average Disney princesses, Moana is neither selfishly rebellious nor simplistically innocent.
  2. The film is spare, empathic, and deeply introspective, and its imagery, such as a pelican fascinated by its own reflection, is so sublime in its kookiness as to be worthy of Werner Herzog.
  3. What emerges is a portrait of a fully committed band that could never quite make it and of the rock n' roll project as something between a (very serious) hobby and a full-time career.
  4. The film at one point offers the finest sustained act of emotional storytelling to grace a Marvel Studios production.
  5. Joel and Ethan Coen's idiosyncrasies elevate the film above the level of a mere creative exercise.
  6. Its time-jumping strategy cleverly illuminates the way in which we go over and fixate on isolated incidents in our minds of breakups past.
  7. Michel B. Jordan plays Erik Killmonger with such moving, occasionally gut-wrenching commitment that it nearly mitigates the goofiness of his moniker and the superficiality of the film in toto.
  8. This is muckraking journalism that moves confidently with the brio of an action thriller.
  9. Christian Schwochow's film is a tense psychological slow burn, putting us in the muddled headspace of its protagonist as she gradually comes unglued.
  10. This is a confident work that smashingly updates the Southern gothic for contemporary generations.
  11. The film goes deeper in its allegorizing, tapping into the volatile nature of identity politics.
  12. Perhaps Sanjay Rawal's most fascinating excursion into agriculture's dark side is the vineyards of Napa Valley, where the practically Eden-like scenery masks a dreary labor model.
  13. The narrative works through the many contradictions brewing inside its main character in the wake of his personal actualization without ever feeling like a dramatic checklist.
  14. The film refuses to tease us with suspense, overwhelm us with sentimentality, or defy us with nuance.
  15. Jody Lee Lipes shapes the footage into an intimate symphony of poetically shaped bodies that contrast poignantly with uncertain faces.
  16. Despite the subdued anger and drawn-out suffering on display, the documentary is primarily a work of hope.
  17. Here is a film that isn't afraid to risk didacticism in order to put across its vision of the debilitating physical and psychological effects of colonialism.
  18. This is a micro-budgeted affair of the heart that's never precious or obnoxious, but tender and moving and occasionally explosive in its intrinsic emotion.
  19. Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.
  20. It has generous lashings of Aardman Animations' trademark warmth, visual inventiveness, and satisfying Claymation tactility.
  21. The cumulative effect is cheerily life-affirming, a bracing infusion of macaque-style joie de vivre.
  22. A movingly authentic exploration of a working-class milieu and the psychological and economic trauma that ripples through a town in the wake of a tragic accident.
  23. Paolo Virzì's Human Capital gives the tired trope of cutting between overlapping stories a welcome shot of adrenaline, using it not just to compare and contrast tangentially related stories, but to show how people caught up in their private dramas can overlook or misinterpret the people around them.
  24. It puts the viewer inside Maidan, allowing them to draw their own conclusions about the ideas and agendas espoused by the movement's leaders and participants.
  25. North Korean culture is lensed in part through a South Korean perspective, with the final chapter asking: “Is reunification possible?”
  26. Instead of finding one consistent tone and sticking to it, Serge Bozon allows the wildly hilarious and the grimly serious to uneasily coexist, exulting in the resultant clash.
  27. It evolves into an intimate reverie on family and aesthetics, while remaining sporadically attuned to the reflexive and ethical dimensions of ethnographic discovery.
  28. Desiree Akhavan's tale of queer post-breakup funk shows more nuance, and racial dimension, than its cinematic cousins.

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