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. Director Craig Atkinson's documentary explicates its points with blunt but persuasive efficiency.
  2. Cameraperson is certainly a collection of memorable images, but it's more so Johnson's facility with narrative, on a micro and macro level, that impresses.
  3. It insists that it's in moments of small talk, between life's larger events, that one finds vitality.
    • 75 Metascore
    • 75 Critic Score
    Jason Cohen’s slick aesthetics manage to elevate Silicon Cowboys beyond fellow “info dumps” of this caliber.
  4. Writer-director Joseph Cedar charts Norman's rise-and-fall arc with the attention to detail of a procedural.
  5. Peter and the Farm is a warts-and-all portrait that asserts its subject's sense of purpose even as it seems to slip out of his grasp.
  6. Mike Mills’s 20th Century Women incurs sorrow at the prospect of saying goodbye to its characters.
  7. The film has an eerily WTF arbitrariness that should be the domain of more films in the genre.
  8. Ben Wheatley's film reduces the modus operandi of the action movie down to its starkest elements.
  9. Andrei Konchalovsky's film is more than an exercise, as pitiless moments accumulate with enraged relentlessness.
  10. Mark Duplass and Sarah Paulson have extraordinary chemistry, painting a cumulative portrait of the fragility and rareness of being truly in sync with a partner.
  11. Throughout A Family Affair, time is continually collapsed to the point where events separated by many years bleed into one another.
  12. Neither sentimentality nor nostalgia for reckless years gone by can be found in Rebecca Zlotowski's Belle Epine, which makes its tale of teenage rebellion in the face of overwhelming grief fall closer to a sobering character study than a classical youth film.
  13. Like Shohei Imamura, Argentinian writer-director Gaston Solnicki can be understood as a cinematic "entomologist."
  14. Throughout Get Out, Jordan Peele incisively probes the connection between liberal racism and good old-fashioned white supremacy.
  15. The insistence of Green’s gaze throughout the film encourages us to look beyond the mechanisms of speech and behavior at the more uncanny movements of the conscience.
  16. In terms of formal orchestration, Creepy is as sublime as any prior Kiyoshi Kurosawa film.
  17. XX
    These shorts follow female protagonists as they wrestle with exclusion and implicit social standards that may or may not extend to their male counterparts.
  18. Jacques Perrin and Jacques Cluzaud's Seasons is a nature documentary that reveals itself as a story of tragic usurpation.
  19. The plaintive plain-spokenness of the interviewees, the way they matter-of-factly speak of atrocity, is transcendent and intensely haunting.
  20. Even more diverse than the film's historical material is its eccentric mash-up of styles and approaches.
  21. Bradley Cooper understands that a message is only as resonant as its messenger, so he surrounds himself with collaborators, old and new, who can sell even the hoariest cliché.
  22. Johnny Ma's Old Stone is a lean, nasty entry in a subgenre that could be termed the bureaucratic noir.
  23. Sam Pollard's documentary teeters on reaching a higher plane of meaning simply through the efficiency of its information.
  24. It captures how sports can bring wholly disparate people together to accomplish feats that change the destiny of nations.
  25. The film circumvents bleakness with a thoroughgoing commitment to understanding and intimacy.
  26. Jon Watts deftly weaves the epic and the mundane aspects of Spider-Man’s existence throughout the film.
  27. The Rosses share David Byrne’s interest in the minutiae of habitats and the comforting enclosure they provide along with the discomfiting constriction of anonymity.
  28. It captures the qualities of live theater that are rarely transmitted to film, of being immediate, alive, and spontaneous, as if the viewer is just a stone's throw away from the characters.
  29. The film revels in a hushed and lucid expressionist naturalism that’s reminiscent of Andrei Tarkovsky’s Stalker.

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