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. The film is most interesting as an articulation of how its main character's initial status as an emblem of inter-religious understanding quickly dissolves following a suicide bombing.
  2. Kümel’s impulse to remain on the waning edge of eroticism turns what could’ve been another cheap thrill into a genuinely unsettling examination of the human race’s most happily sanctioned form of vampirism: man-woman couplings.
  3. Charlotte Regan’s film is a baffling clash of two incompatible visions.
  4. It would be inaccurate to call Happy People: A Year in the Taiga the newest Werner Herzog film.
  5. François Ozon is never willing to fully engage with the ridiculousness of his material, resulting in an uneasy mix of wry distance and unearned emotion.
  6. The film’s concession to the fungible nature of presented reality comes across not as indecisive but courageous.
  7. Twenty years on from Tie Xi Qu: West of the Tracks, we return with Wang Bing to the factory floor, but this time he doesn’t muster the formal strategies or the narratological scope that once allowed him (and us) to imagine broader implications for China’s future.
  8. A playfully self-reflective rumination on what writer-director Terence Nance has described as "self-awareness through experience with love."
  9. The film often suggests a less defiant cover of The Defiant Ones, yet it's a must-see for Viggo Mortensen's characteristically wonderful performance.
  10. 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.
  11. The documentary takes an equivocal stance, implying that just because a film should not be shown doesn't mean that it should be banned.
  12. In the simultaneously heady and lyrical The Creation of Meaning, we're obviously implicated in that comment, as the film views the meaning-making process as something malleable and dependent on perspective.
  13. The documentary mistakes its access to quotidian behaviors as evidence of the need for comprehensive educational and financial reform.
  14. Lost Soulz is a road-trip movie driven by good vibrations and the joy of making music.
  15. The precise contrast of stasis and flux, of the sublime and the quotidian, of simple personal dreams swallowed up by massive national ambitions, characterizes Liu Jian’s latest.
  16. Dash Shaw’s deceptively simple animation regularly descends into phantasmagoria that delivers on his story’s strange premise.
  17. 40 Acres continually finds clever ways to either subvert familiar story beats or to make them land with extra impact.
  18. The filmmakers’ ability to seamlessly explore rapidly shifting Chinese cultural norms within the context of the classic trope of a mother who’s hostile toward her son’s partner is the film’s most impressive feat.
  19. The film has been executed with a sense of formally stylish and thematically symmetric panache.
  20. The hot streak for Irish animation studio Cartoon Saloon cools with My Father’s Dragon.
  21. The film misses an opportunity to delve particularly deeply into the keenly relevant issues of inequality and social disconnection that so animate its protagonist.
  22. The film is a bit too muddled to bring its main character fully into focus, despite Hélène Vincent’s best efforts to do so.
  23. Even if the narrative threads aren’t as tightly focused on exploring a complex theme as one might hope, The Body Snatcher nevertheless manages to still send chills, and predominately through Wise’s fleet direction and Karloff’s unflinching embodiment of a real-world monster.
  24. The primacy that it places on its dopamine drip of dread undercuts whatever genuine commitment it might have toward mental illness and trauma.
    • 74 Metascore
    • 63 Critic Score
    It works as a reminder of the important interactiveness of the performing arts, of actors evoking the drama, action, and emotion that computers and machines cannot.
  25. The film is at its best when its focus remains on Ivins’s fierce commitment to her ideals and willingness to speak her mind.
  26. Kristoffer Borgli’s film presents a perfectly absurdist setup that allows Nicolas Cage to flex his singular acting muscles in increasingly hilarious directions.
  27. The film’s playful tone is a corrective to a century of scholarship that insisted on projecting the image of a moody spinster onto Emily Dickinson.
  28. The film quickly becomes a study of grief and retribution, and the question of how exactly technology can and should be utilized in the treatment of these emotions.
  29. 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.

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