Slant Magazine's Scores

For 5,554 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 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Room 237
Lowest review score: 0 Jobs
Score distribution:
5554 movie reviews
  1. The film vibrantly articulates all that’s lost when people are held under the draconian decree of warlords.
  2. The film ultimately depicts a world in which people are left with no other option but to devour their own.
    • 80 Metascore
    • 75 Critic Score
    The film’s use of scale to drive home the absurdity of its characters’ actions sometimes calls to mind Werner Herzog’s tragicomic existentialism, as well as early silent cinema.
  3. This a parable about adulthood boasts deeply cynical takes on home, community, and childrearing.
  4. The film functions as a handsomely mounted biopic that tells a little-known story with considerable passion.
  5. The film speaks lyrically to a peoples’ determination to find a meaningful way to live in a rapidly changing modern world.
  6. Without Margo Martindale, the film would be a sharp and tightly constructed nautical noir. With her, it becomes a memorable one.
  7. In Deerskin, Quentin Dupieux mines the absurdism that is his signature with newfound forcefulness.
  8. Given its hero’s imperviousness, the film’s chaotically edited action sequences tend to be devoid of suspense.
  9. The film was almost canceled for being too partisan, so it’s ironic to discover that it’s practically apolitical.
  10. Thomas Heise’s documentary seeks to excavate real human thought and feeling beneath the haze of larger political structures.
  11. It comes across like yet another casualty in the long line of stories about men having their eyes opened by their angelic girlfriends.
  12. The film is suitably direct, clear-eyed, and exhaustive in documenting the massive impacts that gerrymandering has, particularly on communities of color.
  13. The film is at its weakest when it has to do drama, since the fallout of Mo and Zeke’s actions feels perfunctory and tossed-off in the rush to an ending, a hasty come-down after the proverbial party.
  14. David France’s most remarkable accomplishment emerges from an aesthetic commitment of a very particular kind.
  15. The film makes the path to basketball glory and the road to personal redemption seem oddly effortless.
  16. So many grandiose tactics portend a grander revelation than the film’s otherwise low-key three-hander delivers.
  17. The film grapples with the various shapes that guilt and honor (or lack thereof) might take in a context of state-sanctioned death.
  18. The film allows that we are complicit in privilege for our fascination and envy.
    • 92 Metascore
    • 88 Critic Score
    Driven by the potency of its social intentions, the film is so authentically felt that it becomes hyper-real, a nightmarish disquisition about how entire systems are rigged against women that would feel academic if it didn’t play out against earnest performances of tender teenage emotions.
  19. It’s difficult to imagine a more socially engaged or powerful condemnation of the exploitative gig economy than Ken Loach’s latest.
  20. Reciprocity might be impossible in a world rigged against queerness, Tsai seems to say, which doesn’t mean that certain things can't still be shared.
  21. The film questions the fixed nature of human behavior in a world whose borders are constantly shifting.
  22. Abel Ferrara doesn’t require traditional dream logic, as his grasp of the nitty-gritty quotidian of longing is inherently uncanny.
  23. The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
  24. Camera, character, and cameraperson are one throughout, and the effect is exquisitely suffocating.
  25. Fortunately for the film, Carlo Mirabella-Davis continually springs scenes that either transcend or justify his preaching.
  26. This lively adaptation plays up the novel’s more farcical elements, granting it a snappy, rhythmic pace.
  27. In the end, the film suffers from the same issue as its moody androids: enervation borne out of repetition.
  28. Through to the end, you can’t get off on the thrill of this film’s craftsmanship without also getting off on the spectacle of more than just Cecilia brought to the brink of destruction. Like its style, The Invisible Man’s cruelty is the point.

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