Slant Magazine's Scores

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For 1,403 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 10.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 51
Highest review score:
In the Family
Critic Score 100
Lowest review score:
Here Comes the Boom
Critic Score 0
Score distribution:
  1. Positive: 628 out of 1403
  2. Mixed: 284 out of 1403
  3. Negative: 491 out of 1403
1,403 movie reviews
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  1. Tim and Eric's Billion Dollar Movie
    In the race to achieve unadulterated fourth-wall breakage, Tim and Eric's Billion Dollar Movie is the new pack leader.
  2. Let the Bullets Fly
    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.
  3. Dr. Seuss' The Lorax
    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.
    • Metascore: 77
    • Critic Score 75
    Jiro Dreams of Sushi
    Director David Gelb details, among other things, the painstaking process that goes into creating mouthwatering pieces of sushi.
  5. Sound of Noise
    The film is ultimately winning because of its devilish anarchic streak, aiming its arrows at the stuffiness of the traditional musical establishment.
    • Metascore: 59
    • Critic Score 75
    Shakespeare High
    These SoCal kids are passionate about their craft and it shows in their renditions of the famous bard's work.
  7. Convento
    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.
  8. 21 Jump Street
    Like many almost-great comedies, 21 Jump Street is frontloaded with the best go-for-broke gags and lines.
  9. 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.
  10. The Deep Blue Sea
    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.
  11. All In: The Poker Movie
    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.
  12. The Hunger Games
    The Hunger Games is more notable for the holes it doesn't fall into than the great heights it reaches.
  13. The Island President
    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.
  14. Scenes of a Crime
    A true-crime documentary of invigorating analytical clarity and evenhandedness.
  15. Love in the Buff
    The film has an exhilarating tossed-off quality that characterized many of the most entertaining works of the French New Wave.
  16. We the Party
    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.
  17. Player Hating: A Love Story
    One of the more intimate and revealing looks at American projects ever made; it's assured and empathetic without indulging in fashionable white guilt.
    • Metascore: 59
    • Critic Score 75
    Surviving Progress
    By turning the idea of progress on its head, the nimble Surviving Progress exquisitely presents to us the possibility that humankind's achievements may cause its downfall.
    • Metascore: 45
    • Critic Score 75
    Detention
    High school students (the jocks, the brains, the princesses, the criminals, the basket cases), long the favored prey of serial killers, somehow manage to fight back from the brink yet again in Detention, a bright, witty new genre mash-up.
  20. The Three Stooges
    After what seems like an eternity of inanity and incompetence in the realm of Cats & Dogs and Squeakquels, the Farrelly brothers' direction is downright classical.
  21. Downtown Express
    The movie's final act tries, somewhat admirably, to consolidate the plot's myriad interpersonal conflicts.
  22. Fightville
    Fightville's most worthwhile material tends to lie in the space between what its subjects say and what we know to be true.
  23. Whores' Glory
    While Michael Glawogger does make overtures in the wrong directions, he usually seems to know where to steer his material.
    • Metascore: 43
    • Critic Score 75
    The Giant Mechanical Man
    It's a simple story of simple people intentionally told in simple terms, and the only issues with which it's concerned are those of pure personal connection.
  25. Warriors of the Rainbow: Seediq Bale
    There's something to be said about a two-and-a-half-hour war epic that manages to make each of its countless decapitation scenes feel earned, even called for, in the moment.
  26. The Five-Year Engagement
    The film proves that neither gross-out gags nor pseudo-sophisticated Woody Allenisms are necessary to make a smart, funny comedy.
  27. Booker's Place: A Mississippi Story
    Documentarian and subject, past and present blur together like bleeding watercolors in Raymond De Felitta's gripping memoir.
    • Metascore: 72
    • Critic Score 75
    First Position
    The documentary twists out its six narrative threads with measured compassion and even-handedness.
    • Metascore: 82
    • Critic Score 75
    Under African Skies
    It does lightly suggest scintillating questions about the responsibility artists have in reflecting current political moments in their music.
  30. The Observers
    Goss's film carries its unique forms of narrative suspense, but her 16mm images imbue both the forbidding landscape and her characters' scientific aerie, though the observatory only dates from 1932, with a poetry of the seemingly eternal.
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