Slant Magazine's Scores

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For 1,404 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 10.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 51
Highest review score:
Le Rayon Vert (1986)
Critic Score 100
Lowest review score:
Last Will and Embezzlement
Critic Score 0
Score distribution:
  1. Positive: 629 out of 1404
  2. Mixed: 284 out of 1404
  3. Negative: 491 out of 1404
1,404 movie reviews
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per page
    • Metascore: 75
    • Critic Score 75
    Attack the Block
    More "Bloody Kids" than "Super 8," more "Assault on Precinct 13" than "Jumanji," and, in the end, more "Be Kind Rewind" than "Adventures in Babysitting."
  2. Ballplayer: Pelotero
    The doc is a sly, interesting achievement: It opens as an entertaining sports story and closes as a metaphor for government corruption.
    • Metascore: 75
    • Critic Score 38
    Bernie
    A surprisingly shapeless true-crime farce which never creates a convincing context for the odd relationship between a pious East Texas mortician and his sugar mama.
    • Metascore: 75
    • Critic Score 63
    Chasing Ice
    If you need it, the documentary offers a devastating, and often beautifully shot, reality check.
  5. The Muppets
    The beloved gang's sweet reunion will melt nostalgic adults into laughter and tears, and maybe kids won't mind drippy new Muppet Walter so much.
    • Metascore: 75
    • Critic Score 63
    Marina Abramovic: The Artist Is Present
    As entertaining as the documentary is, it never really measures up to the fascination and sheer force of personality of its subject.
  7. Detective Dee and the Mystery of the Phantom Flame
    Hark's new film is a consummately bizarre crowd-pleaser that throws everything at the viewer from makeshift plastic surgery by acupuncture to death by spontaneous combustion.
  8. The Thieves
    A dazzling heist film that can't help but come off as duly influenced by Steven Soderbergh's Ocean's trilogy, South Korea's number one box-office champ of all time is never less than clever.
  9. Graceland
    The film's plot isn't unusual, but director Ron Morales strips it down to its primal essence.
  10. Side Effects
    Like Magic Mike, Side Effects is enlivened by Soderbergh's jazzy style and laidback moralism, bringing to mind the work of another connoisseur of genre, Robert Altman.
  11. Point Blank
    Fred Cavayé shoots his action with both vigorous propulsion and visual lucidity. Unfortunately, however, his story's revelations, all of which are related to a recent corporate bigwig's assassination, arrive at least two-to-three scenes after they've already become obvious.
    • Metascore: 75
    • Critic Score 75
    Scheherazade Tell Me a Story
    Inescapably and poignantly colored by the revolutionary events that would take place in Egypt in the years since its making, Scheherazade brims with faith in storytelling as art's great way of lifting society's veils.
  13. The Rabbi's Cat
    Despite its flaws, the film is at least a consistent vision, attesting through both its story and animation to the rabbi's right to be different while also striving for human solidarity.
    • Metascore: 74
    • Critic Score 75
    Found Memories
    Julia Murat shows a fine grasp of form, letting her technique reflect the elements and moods of her story.
  15. Tabloid
    A slick, entertaining offering, playing at times like a tarted up "E! True Hollywood Story."
  16. Frankenweenie
    Tim Burton's sense of playfulness feels forced throughout, and as the film progresses, any humor or inventiveness takes a backseat to tumultuous set pieces that reference Frankenstein.
  17. The Wise Kids
    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. Bombay Beach
    Rather than bringing out the symbolic inner lives of the characters, these sequences seem like the intrusion of an aggressive authorial personality on a film whose subject-as well as the fact of Har'el's outsider status-demands that the filmmaker simply sit back and observe.
  19. Porfirio
    Alejandro Landes's Porfirio is an ugly movie to watch, but it's not without purpose.
  20. Polisse
    Polisse has been compared to "The Wire," but beyond a shared interest in the Sisyphean nature of police work, the two are mostly comparable as inverses of each other.
  21. Fake It So Real
    Fake It So Real has been made with considerable more polish than other do-it-yourself documentaries such as "Total Badass," but the sensibility is similar.
    • Metascore: 74
    • Critic Score 63
    Where Are You Taking Me?
    The documentary revels in the simple joys of finding something that captures the eye and paying attention to it.
  23. Tomboy
    Tomboy is one of those little big films whose simplicity and concision suggest the excess of meaning that language (cinematic or otherwise) could never account for.
    • Metascore: 74
    • Critic Score 50
    Bully
    Leaves us moved by poignant scenes of victims' shattered lives, but, for reasons unclear, keeps the bullies themselves largely out of our reach.
    • Metascore: 74
    • Critic Score 63
    Winnie the Pooh
    Pooh's moral triumph isn't all that weighty, but it's almost existentially profound to see the silly old bear forgo honey a little while longer because of someone else's needs.
  26. Higher Ground
    Lacking both spiritual and narrative spark, Vera Farmiga's directorial debut suffers from her flat performance and a moribund, weirdly sex-joke-spiked narrative.
  27. In Darkness
    It's the rare film that should not introduce new story elements or characters past its first act. In Darkness, a garbage movie applying for unlimited credit on the most meager collateral, is that film.
  28. Into the Abyss
    Underlying the occasionally harrowing, consistently mournful tone is a philosophy that, more than being explicitly anti-capital punishment, puts both family ties and the social contract at the center of people's self-worth.
    • Metascore: 74
    • Critic Score 25
    Happy People: A Year in the Taiga
    It would be inaccurate to call Happy People: A Year in the Taiga the newest Werner Herzog film.
    • Metascore: 74
    • Critic Score 88
    Dark Days
    The documentary enables its viewers to confront poverty on a human level by presenting its subjects, for the most part, like anyone else, living lives, despite their socioeconomic difference, relatable to our own.
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