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. A fawning tribute to the cult legend, enriched by a subtle current of sadness that prevents the documentary from turning into a glorified DVD supplement.
  2. Michael Winterbottom's film is a mess of tones, but not of ideas, which could well sum up the director's prodigious but uneven oeuvre.
  3. The film feels utterly infatuated by the cop/crook dividing line long-since drawn, if not flogged, by Michael Mann.
  4. On one hand, the film is surely a celebration of a land's distinct creatures and the people who live among them, but on the other, it's a culture's biting auto-critique.
  5. Throughout, Benoît Jacquot never loses sight of the primordial compulsions that drive feelings and expressions of great love and beauty.
  6. Chaitanya Tamhane's grand canvas is Indian society as represented by its legal system, and what it reveals is none too flattering.
  7. It depicts counterculture where those stranded outside the barriers of conventional society seek to push past natural boundaries to intermingle with the metaphysical in midair.
  8. Before I Wake's images have a pleasing straightforwardness that parallels the openness of the young protagonist's longing for love.
  9. Aesthetically, the film cunningly suggests life that exists solely within an academic experiment, closed off from chaos that isn't manufactured.
  10. The film's episodes and attitudes register with searing immediacy while feeling true to their time period.
  11. The film is so unusually moving and penetrating because it refuses to cloud its emotions in distancing irony, anger, or nihilism.
  12. Despite all this macabre torment, It's Such a Beautiful Day involves a lot of sweet, plucky humor that represents a discreet softening of the angry sarcasm for which Hertzfeldt has become known.
  13. Joel Edgerton's boilerplate direction is a blessing for a genre increasingly saddled with literal visualizations of madness.
  14. Director John McNaughton, once an agile orchestrator of seemingly incompatible tones, has retained his talent for teasing insinuation.
  15. The ghostliness of the Kunsthistorisches Museum in Vienna derives from an identity crisis, where digitization threatens to eradicate the gallery space.
  16. The film is an unbroken chain of one-liners, sight gags, and pop-culture references, and the hit-to-miss ratio is high.
  17. The doc emerges not so much as a glimpse into the mind of a dying artist than as a factual drama on how loved ones are impacted by an individual's death.
  18. If nothing else, Heaven Knows What is one of the most harrowing cinematic depictions of drug addiction in recent memory, reliant less on formal gimmickry than on close observation of behavior.
  19. The transcendence that the film offers isn't to be taken lightly considering the near impossibility of living professionally as an artist.
  20. The documentary takes an equivocal stance, implying that just because a film should not be shown doesn't mean that it should be banned.
  21. Lafleur denies Nicole the angsty treatments given similar characters in films like The Graduate and Frances Ha by refusing to saturate the film with an undergirding sense of charm, where the issues being faced are merely points of spasmodic uncertainty that will erode over time.
  22. A neatly balanced tragicomedy about the easily blurred line between assisted living and assisted death.
  23. A good story, full of life and related with intelligence and a sense of humor.
  24. Louder Than Bombs is a parable that takes depression seriously as a condition and a state of being.
  25. The difference between the film and its equally expensive contemporaries is Luc Besson's playful, childlike naïveté.
  26. The film is an unambiguous endorsement of violent revolt as the only effective response to such inhuman savagery.
  27. Philippe Garrel's film uses its characters' stodgy, formal language to betray their self-consciousness.
  28. Arnaud Desplechin tries his hand at a coming-of-age tale, and does so with equal doses of mature reflection and youthful impetuosity.
  29. Maïwenn fashions a bracing film about co-dependency, capturing the erotic contours of subservience and flattery.
  30. The film mostly succeeds in capturing the nuances of an event that continues to arouse passionate debate to this day.

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