Slant Magazine's Scores

For 1,975 reviews, this publication has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 9.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 52
Highest review score: 100 Tomboy
Lowest review score: 0 Mother's Day
Score distribution:
1,975 movie reviews
  1. Rachid Bouchareb casts his account of the horrifying aftermath of tragedy on an intimate scale, allowing the halting words and frightened faces of his two leads to tell us as much as we need to know about the uncertainties of those faced with tracking down their lost loved ones.
    • 71 Metascore
    • 75 Critic Score
    Pairing again after the mad success of "Juno," Cody and Reitman prove a canny team when it comes to capturing frank yet polished modernity, getting at truths of the here and now even if a certain excess of gloss denies them the full Americana humanism of someone like Alexander Payne.
  2. W.E.'s is a kind of dynamic pleasure that allows for non-shameful identification with the feminine and a fantasy of becoming what we see.
  3. In The Hunter, writer-director Rafi Pitts manages an atmosphere of choked, ambiguous dread, somehow naturalistic and hallucinatory at once, that recalls nothing less than Godard's Alphaville.
    • 44 Metascore
    • 75 Critic Score
    Joyful Noise certainly has its demographics covered.
  4. There's little in Joe Carnahan's previous films, marked by their frenetic, fanboy-friendly overindulgences, to predict the cold blast of The Grey, an old-fashioned, neatly arrayed survival story that almost reads like a reaction to the excesses of his past work.
  5. Lionizing a world-class architect without tipping into hagiography, this documentary performs a graceful cinematic dance around his works.
  6. A study of the this former mining region in both its de-industralized present and its past state as an active coalfield, The Miners' Hymns arranges its two parts as a set of binary oppositions.
  7. The film ends on a note of courage, and a call-to-action that we "remember," naturally, but we can't completely buy it: What Freidrichs has accomplished is a portrait of unknowability.
  8. Director Mahmoud Kaabour is Fatima's grandson, and she instantly seizes on--lightly, in her way--the guilt and panic that's inspired him to make this film.
  9. Offers exactly what its title promises, unveiling this secret milieu through thoroughly meticulous animation.
    • 54 Metascore
    • 75 Critic Score
    If you think of Wall Street as capitalism's symbolic headquarters, filmmakers Allan Sekula and Noël Burch more or less show us in The Forgotten Space how the sea is capitalism's global trading floor writ large.
  10. Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
    • 43 Metascore
    • 75 Critic Score
    Simultaneously both archetypal Tyler Perry and another step in the direction of nuance and thoughtfulness for the filmmaker.
  11. In the race to achieve unadulterated fourth-wall breakage, Tim and Eric's Billion Dollar Movie is the new pack leader.
  12. Let the Bullets Fly is an intentionally overheated and very funny comedy about how the best-laid plans tend to fall apart in spectacular fashion.
  13. The Lorax is a modest gem, failing to significantly enhance its source material's ideas but still delivering a zany, rollicking, multi-character version of Seuss's environmental cautionary tale.
    • 77 Metascore
    • 75 Critic Score
    Director David Gelb details, among other things, the painstaking process that goes into creating mouthwatering pieces of sushi.
  14. The film is ultimately winning because of its devilish anarchic streak, aiming its arrows at the stuffiness of the traditional musical establishment.
    • 59 Metascore
    • 75 Critic Score
    These SoCal kids are passionate about their craft and it shows in their renditions of the famous bard's work.
  15. Convento is an unusual experimental film that conjures the free-floating aura of a dream, only without the stylized, hyper-symbolic imagery that we generally associate with films attempting to convey dream states.
  16. Like many almost-great comedies, 21 Jump Street is frontloaded with the best go-for-broke gags and lines.
  17. Hovering over the narrative is the fear of the domino effect that change can enact, the dread that one person's "queerness" may perhaps expose everyone else's.
  18. Its director's romantic sensibilities wed to Terrence Rattigan's 60-year-old play, this period drama is buoyed by Rachel Weisz's poignant embodiment of a bourgeois wife seeking erotic autonomy.
  19. The film has a shambling charm that actively disputes an unspoken notion that a documentary must be well-structured in order to effectively land its points.
  20. The Hunger Games is more notable for the holes it doesn't fall into than the great heights it reaches.
  21. The film successfully positions its point of view with the developing countries that suffer the most immediate consequences of global warming rather than the developed countries most responsible for climate change and from whose citizenry Jon Shenk's prospective audience is likely to be drawn.
  22. A true-crime documentary of invigorating analytical clarity and evenhandedness.
  23. The film has an exhilarating tossed-off quality that characterized many of the most entertaining works of the French New Wave.
  24. While We the Party can be insensitive, or blind, to the misogyny and homophobia of the general culture (the token gay teen is a finger-snapping, head-bobbing fashionista), it takes the issues of race and class quite seriously.

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