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. Renata Pinheiro’s film boasts the pleasures of shlock while sacrificing none of its philosophical rigor.
  2. The issue of racism sits nestled under both this sequence and the field of anthropology as a whole, giving Expedition Content a nakedly ontological dimension that interrogates how images are produced and who produces them.
  3. Like most of this series’s best action, the big bombastic noise is often a distraction from something far more intimate, and in Day One’s case, something far more existentially beautiful.
  4. The film oscillates between the playfully on the nose and the existentially profound with the confidence of a volcano chaser surfing on a river of lava.
  5. The film’s sheer fun and invention counterbalance its main characters’ abject failure in their search for meaning and success.
  6. The film is one of the more intrinsically frightening evocations of a traumatized mind since Twin Peaks: Fire Walk with Me.
  7. 2nd Chance a terrific American tall tale as well as a cautionary tale and a ripping good yarn.
  8. With Descendant, filmmaker Margaret Brown finds poetry where most would see the opportunity for a polemic.
  9. Writer-director Nikyatu Jusu’s film ultimately proposes that survival is the greatest form of resistance.
  10. Brian Pestos’s flair for go-for-broke zaniness transmutes what might otherwise have been a lump of self-indulgent clichés into gold.
  11. Shaunak Sen’s documentary is both otherworldly and humanizing, as if it were bridging a gap between different forms of existence.
  12. Alex Pritz’s documentary provides an affecting look at indigenous lives at the frontline of deforestation in the Amazon.
  13. Ikiru wows for its complicated interrogation (and innovation) of subjective, cinematic experiences of time and memory, but lulls in its commemoration of a wealthy, privileged man who finally decides to care after it’s absolutely confirmed he has no time left to live.
  14. Taurus is in the business of self-aggrandizement, but this is a film that understands that stardom is inherently aggrandizing.
  15. The film goes from biting satire to broad farce and back as Alain Guiraudie fills it with both social observation and ludicrous incident.
  16. The film poignantly draws a straight line from the economic anxieties of the past straight to the present.
  17. That Kind of Summer never quite resolves into any one stance on its subjects, an equanimity that’s to its credit.
  18. Small, Slow But Steady is one of the first great pandemic movies because it reflects the lessons about mutual support and communal perseverance that we should be taking from very familiar pandemic struggles.
  19. Apollo 10½ ultimately suggests that memory distorts and amplifies just as much as it preserves.
  20. For all of its farcical overtones, the film contains many shrewd observations about the power games inherent in relationships.
  21. Paul King again proves himself a masterful engineer of imaginary worlds, and it’s the meticulous attention to detail that makes Wonka so captivating.
  22. Jonas Bak’s semi-autobiographical film is a gentle depiction of modern alienation.
  23. The film recalls nothing less than Inherent Vice in its use of a threadbare detective narrative to explore both human interactions and grander ideas about the American society of its time.
  24. The Fabelmans is a provocative investigation of the cinematic medium from one of its great masters.
  25. The film is consistently delightful, offering up an unrelenting supply of shimmering, sun-dappled visuals and a sweet, strange story about a young girl making peace with her past.
  26. David Cronenberg stares upon humanity’s need to evolve toward some kind of survival with a serene, godlike assurance.
  27. Brett Morgen is less interested in factual biography than in eliciting a sense of the man as an artist and personality.
  28. The film’s depiction of life impacted by urban transformation conjures a palpable aura of entrapment and helplessness.
  29. The film goes to show that humanism and absurdism are often two expressions of the same face.
  30. Despite the mystery of the home invasion becoming increasingly tangential, Human Factors remains a compelling puzzle-box.

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